2 Np Seana 
siete poesia 
sa cafenoney 


cseey e 
adiatiagey ty” 
sn sw ig Sip 
alge yg tase 
iAP Gy 
ely 
<8 


Fine 
ition 


SA Sse it habbit 


Pe ievaieury 
Biter ta fay 
4 faite 


Be 


ifysiat see i 
y a 


| 

agit ity 
i eA 

Ura 
“ 


ne 
Heat 


uy master; F ; Fie¢itmann....... 
Pe a ae Cis, Porttait of Py “Girl: 


Kies Hare, as “Tnfaney": i : aig Sold: : 
; » ©. Issia aa . 
Jameson NET Ea ens ee Dae > 4,600} RR, ‘Ab @ si Jean B. B. Detaille: 


TALeE Ole 2 v OF a 0 480 -& 6 2. 50 0a 0 gia 0 pcbla «6 


ily ceeanesae, 20,0004 UNEE, agen ae 


‘Portrait of storal,!” ts aie’ Latour: ef iaes 

Seaman, PRPC ay Cee hi ty Or aa Pe AS 
PL UEDA GRU ek AEE ESE 5,800 fiiscape, > Trheapite de” Bock; A, 
148 Sit Vents ‘Reynolds, - Portrait of Re A nein gre ei te Susan 
nee Robert, : Second Duke of Lein- att bets ice ta fl Alberto Pasint: Joseph 
ster; ’ 5 att net hiblbc ee #18 Nae ielg ale & ’ ‘allachi se Be R ag Lae: ofS ale eid ’ 
tide aa bet Portrait of a Cava- ae nhalta f Mca ‘Station, ae A ae 
i; ler’; oO dN ad 0 ie Ep as APRA HS She eae ESE A ’ le ity Girl,’’? L. Kn aus? Mrs. oo, 
+ | 150—Thomas Gainsborough, Portrait of ans Le Jardin,” A Hicnticel 2 

ak pe Thomas Cornwall, R. N.;  cepetnes Rachie’ siya ovate y GoM 


» WwW. Seaman, BOO G i', oene dn rns xa cies 2,100 


eo i. B. Baliw: CH a Wy ante geplleh faa hee : 4,200 
152—Sir Thomas Lawrence, Portrait of 
meester iehaemeuael W. W. Seaman, 


18 #80 8s 28-8 96m O00 6 & soa 6 6.0» 2.4 £16 0 bao ble 


o 
fen Ledi,*’? D. Y, Cameron; s. FF. Kraushar 
sa of Fontainebleau,’ ioe Bs Munger; 


eeeere see oe w 


ome eee Heese sere ee este eeresasee 


ae 2 Ww Weni Marie: Scott & Fowles. Fi 
omasked, "> Don R. de Madrazo; Knoets 
sont ant ” Willard. IL Metealf: Miich — 
alleries Chea ae eee ie oe 
Butthels Afternoon,’’ J, Prantig ‘Murphy:. 
ultheis Gaterss: ice 6b alele chen ee ee 


4 A E { te me t [kr Cay oh Child bt H. russell 2,500 
S i ree omney, ortrai fe) ir 
“eh XCM ye - Archibald Campbell, K. B., of Inver- 
Men Hreedion 6 Coli. i. ices vate ce 4,550 
i 156—Sir Joshua Reynolds, Portrait of 
i the Misses Paine; W. W. Seaman, 
Pe dee aot Gk ee Nee, yh s as de 15,900 


nin" 166--Canaletio (Antonio Canale), Piazza Olestt 2. do ee ee 


immer Tadeoiae with Figures,” ‘Gonna 
aness, Os Le. ebpalseVinwee ceeioe mE 
ishing - Party,’’ Martin Rico; N. O. Noom 


--of Venice from San Marco; Ehrich 


eee peters rast night ” PP ULG cy See et Set as ig ae Ct 1,000 


1aZa ‘ballroom, conducted by, 1| 167-—-Giovanni Antonio Canaletto, View 
Art Association, proceeded on the Grand Canal, Venice; 0. Ber- 


i aepherd ‘and Flock,’? L. A. ULhermitte: 
tee ; a net, agent,...... es Geeta sa singe acaion west 3,100 | ‘oward: Young... ...5) ¢ieekee wy aes 
calm fashion, in marke | The total for the evening was $165,885, Be a eEee Trees,” Willem Maris; J. B. 

‘to the scenes ‘of excitement of making a grand total for the two nights | gndscape ‘at Sunset,”’ H, Harpignies: 0. 
cht | ec Some excellent prices | sale of $542,010. This is BBG record ‘for |) Palsey..,. “7ay, commu ae. ieee oe 


but. Meike to eclipse the the season to date, 


eae 


2 94 98 ooo selene sie @ & | Sets. w 6 0) a0) 6) alesse ee 


Bs 


rance of PREL is cehis esd dob hbal Cea e ee ate 
Paani, Moors at a iis $1,000 ftrait of BR: A. Yronside,?’ Sir iiinte 
Rena S ciaie sy ete 6 ? 
‘ EA RE ee SR NP ieburn; Otto Bernet...0..2..6.. 
dge Maitland, *? Sir Henry Raeburn; ‘Otto 


‘Maitland; 0. Bornet, agen “500! 7 way perald 
an Micrevolt Morne of a Burgo- gee ‘ Ail b Al 
/ «pd Tobias,” Jean F. Millett; Knocdler 
oshua Reynolds, Portrait of | hid] Garden.” “Winstow’ Homer: Miich 
8 


ndsecape bee Cows, ” Jean B. C. Corot; 
‘nry Schultheis for a < [oedier & C a its Lite Greene 
c ol- arm en S e, oR an Marcke 
- mp oreneh alee ts 85 Ac Baton: jae eee ee 
i inin a Red Hat,” Francois Clouet; Otto 


$43 


a 


5,110 | 


pe du Douwbs,’’ ‘&: Courbet; “Knoednier ee 
2,000 


i, o iurk, *  R. P. Bonington; “Beott & 
1 for the Renoir, loctioh Rpg IES se eet aha ee 500. 
; nself as 1ers See. Hin,’ ie } 
tee, pisuare eolleet : nps; caine pecumuat  e 525 | 
herries” led off last net at at ie “-|nai Knoedier & Cay. jaa eae net 1,000 — 
1e to a buyer represented te ee 7 N. ¥. D. DeoLa Pena; ae | 
&. Wowlessskipd pnce tee eae Be 
rnet. W. W. Seaman, agent, Close of Day,’’ Jules Dupre; Louis 
for Sir Joshua Reynolds's PRMAND se asinine key Palen eee en eee a. | 
shy Ses f Rae- jndscane,” Jean B. ©. Corot; Otte aa 
$e ne,” and $15,300 for trnet, agent 2s di sence be ae 
2's “Lady ce eee bas isiteaar ys . _ [apherdess.”* C. ‘Oi Jacque; 0. L, Halsey 2,600 
Ave 100 for a Daubigny land- ase on the Oise ; aubigny; 
i Asha by J. Francis Srurphy | toed ler Bo COS ine eas Pet ae ea ee 9,160 


egal 


8 
a bb este one ne oe ee Se hee ee ee ee ee 7 
“A Boy wai Cherries ‘Comat M3. Van" Miereveiti 
rtrait of a. Girl,’ Aelbert Cuyp: Ro 
He! Price at:Gon- DY WVOGU. ale ne apa Mate h ates a Ok on aaa 6,000 
mands Top ; aster Hare’s ed aie > Sir . Joshua : 
srnolds S.C) 1a Meson. ss a sei saha anes Ri 
cluding Session. Boy with Cherries,’ Sir Henry Rae- 
bre Otto! Bernese ses LA od eae ere 20; 
| EY. pprirat of ein Broughton,’’? Sir Henry 
6 eburn; W. if please 6 8H 46 ae .15, 300 
irtrait "of Wi liam obert,’’ £ oshua 
: eee ere eT ROR Ey ee eer 7m st eybolds; M. H. Goldblatt. 2veas ns aie 4,400 
of PEE DHS [night of the sale of works by French im-~.Cavatier,’? Nicholas Mues; Leo Klwya,. 4,1 
2,600 | iptain Thomas Cornwall,?’ ‘Gainsborough: 
ess, ee i fa asonpe ’ ipressionists, early Elngligh portraits, Amer-’, WW, Seaman... Pe ho pater | 2,100 
iT ' dele 
fet day Fialney...-. +++ <7 +s 1400 ican and other paintings at the Plazaqs: if. B. Schwab. i..ieceseceereeesnes 1,200 


BS bemitie, Shepherd 1,150 Hotel under the auspices of the American aster Ee ae ie pe priate rife 


oward Young......-++++++: 


n tine The Three Trees and 1,499 Art Association, Mr, Thomas EH. Kirby, ts. St. George and Child,’? George, Rom- i 


b cle) 000 
THarnignies, Landscape at Sun: ‘id auctioneer, the .total was $165, 885, This, ¢ Archibard € Ga ripheul dd ‘George ‘Romiehs pie 
E Gouriet, Bonds du Doubs: HS added to the receipts of Wednesday night, NOCMe S Ce. ss ning’ Wun Santvoonds snl 
ee ere 2 Oe: >" aftién “notable / worlts by, the” modern ye Misves Paine, SIP Tishndd Waites 
Dias Herame et ers sani gic’ 1.000 Frenchmen were sold, brought the grand:, Seaman...... Bras Fo oO 1000 
Wanita ns aye Dy | ag t Bernet, tong total up to $642,010. ode Soule i We ii ae ae ie 450 
es Emile Jacque, Shepherd and | The top price of the night was $20,000, soca, ai) Chik: Se Sota pei 4 200 
in Bye ‘s D alton Sale nada 2.0 \Which was paid by Otto Bernet, agent, fOr nea of Venice,” id Caysletto; Hartel ey: xi 
Oise; Knoedier *& Co fee heen es 9.100 Sir Henry Raeburn’s “‘A Boy with Cher-rand ‘Ganal, Venice,’ G. A, Canaletto; 3,100 
ie a J int ves cet, 8,400 ries.” This picture was from the estate of ea ta De Ribera? Kleinberger Gale > | oD 
arn eather Me Aanias: 18 ae fe ee a ag Biowenea” $e" awa HO 
ir Henry Raeburn, Portrait of . Raeburn sale at @Ghristie’s in 187t. Another anasecr: CG. Lagemann... se. 
A 


ens? Raeburn. Portrait os ion,’ fetched: $15,200. 


The pictures that brought more than y prancis Murphy, which was kno 
| $200, the artists, the buyers and the. prices gy for $%,300 and the “Moonlight 
| paid in that order were: ‘ard’ Metealf, which went for $1,59 


Ae: here were 

yctuone Pen uneeeAse: P we f Lady Brough-t was the SbeneUe that t 
| ae maT ibe Saale : : ‘eral distinet bagains in the sale, among 
m being “The September Afternoon, 


ckhed 
Bid 


A. Recdtd 
Monets in “vvllection of 
Modern French Artists. | 


A RENOIR BRINGS $28,000 


Monet’s “La  Tamlse” Fetches |. 
$14,100, and His “Devant La 
Psyche” $12,400. 


There was sold at the Plaza Hotel 


under the auspices of the American Art 


‘made ‘Individual breaks 


Association last evening the finest col- 
lection. of the work of the modern 
French artists, Monet, Renoir, Manet, 
and Sisley, that has ever been put up for 
public sale. There was a wonderful col- 
lection of Monets, @wenty-seven in all, 
nineteen in the Arthur B. Hmmons col- 
lection alone, nine Renoirs, with three 
Manets, and one Sisley. it was a record- 
breaking sale of Monets, taking the col- 


tection as a whole, 
two of. thein 
bringing, respectively, $27, 000 and $28,- 
000. The collection of ninety pictures 
of the évening sale brought $326,125, the 
bulk of the money going for the work of 
the Hrench artists. There was much 
enthusiasm shown by the big audience 
at the sale as the favorites were shown , 
and applause as the bids mountéd., 

The collection of pictures of which the. 
modern paintings were sold last eve- 
hing belong to different private collect- 
ors and estates, the collection of Arthur; 
B. Emmons of Newport having the bulk} 
of the work of the French painters, with 
others from the estate of Thatcher M. 
Adams, the collections of the late Henry. 
Sayles and the late Harris B. Dick, and 
the private’ collection of Joseph F. 
Flanagan of Boston. 

The Renoirs bringing «the top prices 
were ‘Dans Ja Prairie,’’ two. yveoung 
girls sitting in the foreground of a land- 
scape with their backs to the audience, 
which went to the Durand-Ruel Gal- 
leries for $28,000, and a gay, colorful 
boating scene, *‘ Canotiers a Chaton,’’ 


which went to Knoedler & Co. for $27,- «5 


000. The first bid on the latter pic- 
ture was $15,000 and the second $20,000. 

The lowest price for a Monet’ was 
$3,500 and they ran up*’to $14,100, the 
highest price, paid by Knoedler & Co. 
for a beautiful soft blue misty picture of 
the Thames showing the towers of West- 
minster Palace, ‘‘ la Tamise: Le Parlia-~- 
ment: Effet de Soleil,” A eharming 
Renoir in the softes. of pastel shades, 
“Femme et Enfant,’’ went to Scott & 
lrewles for $16,000. 

A letter was read from Mr. Emmons 

Saying that the charm of his collec- 
tion of Monets was\not due to chance, 
but that in making ‘the collection dur- 
ing the past ten to fifteen years it had 
been understood in New York ané@’Paris 
that he would not hesitate to pay the 
best prices for the work of these two 
artists, and he believed he had obtained 
the cream of the market: 

The sale of his .pictures follows the 
sale of his house in New York, which he 
ie Re oe to leave on account of his 
1eA. As 


J over $200, with the names of ‘artists, | 


and the Renoirs) ft 


Following is a list of piotures: Sihpine 


prices, and names of buyers, acre 
given, 

Sty apsonpe and Wigures—Hendrick 
Dirk Atay leg Vah. Elten; R. O. . 
Haywa rR oe ae 
ig Pigura yin “Sunshine—Aifred ‘Stevens; 
Scott & Fowles....+ 

17—Portrait of a Girl "of “the: ‘District 
Near Moscow; Age 15 Years—Vassill 
Verestchagin; Herman Lowenstein... 

18—Loch Linnhe—David . Young Cam- 
eron; Scott & Mowles...-ces sense esnes 

°0—Le Havre-Lotis Eugene Boudin; 
Bérnet, agent oc. ..se-- ES s- 

21—Broad Harbor View-—David- Senne 
Cameren; Bernet, agent areca 

23—The /Wise Men--Adolphe. Monticelli; 
Seaman; agent ..-:.6.. 

24—-Maison et Canards--Claude "Monet : 
Drand: MUeSh ois hoes wigietew ere aes eae 
2h-—Automne sur la Seine—Claude 

enet; Mrs. R. H. Lorenz, agent.... 9, 
Tua Debacle; Serie des ‘Glacons; a 
aa ave Monet; Durand one 10,900 
27—Sentier dans Wile St. Martin, . 
Vetheuil—Claude Monet; Durand Ruel. 7,000 
98—Sentier dans I’Ile St. Martin a Ve- 
theuik-Claude Monet; Knoedler & Co. 5,700 
29--Le Matin, Temps brumeux, Pour- 
ville—Claude Monet; Durand Ruel... 3,500 


210 
450 


300 


6.100 


30—Falaise aux Petites Dalles—Claude 

Monet; Knoedler & Co... sss. ..eee ese s 8, i 
31—Champ de -Coquelieots; BHnvirons 

de Giverny—Clatide Monet; Durand 

ych5(-) SORE Gea he Oy y ua Mee Seek ee AQTOD 
s2—Champ'.< d’ ‘Avoine—Claude — ‘Monet; 

Purand sve! cvs ers ewes wows Cee SOM 

$3--La Tamise, Effet ‘de Soleil : Water- 

loo Bridge—Claude Monet; Knoedier 

& Co Pe ee ee op eee eh eeeee ? 
34—La Tamise, Hifet de “Soletl; Water- : | 


Waterloo eheusdaaterk 
ARON. Ts weg eed eee. chy 


Pont. de Chari | 
Gross—Claude Monet; E. R. Gaaoenelt: 9,600: 
8t—La Tamise: Lé Parlement; Effet de... 
Soleil—_Claude Monet; Knoedler & Co.14,100 
57—-Le Soleil dans Je Brouillard, Lon- | 
dres: Waterloo Bridge—Claude Mo- 
net; ‘Seaman, agents... .eccesavee te he 8,100) 
Pk—Les, Nympheas: Paysage d’Hau— ' 
Claude. Monet; Scott & Fowles........ 8,500 
39—Venise: Palais da bse aes: 
Monet; Durand Ruel. 6,300 | 
40-—-V enisé: Palais Ducal--Claude " Mo- t 
AS EROBICY 2) sik ss pon riagier +» 9,100 
Palais Dueal, vu de San 


net; A. 
Gorglo—Claude Monet; Knoedler & 


loo Fumees: 
Monet; Seaman, 
$5—Lai Tamise: Au 


4{—-Venise: 


CO Ais a asta bes 9 
49-—Venise: Le Palais Datio--Claude 
Monet?) DUPAHEe Ruel bias week ene Dy 


48—Environs de Pourvillé—Pierre Aw- 


guste Renoir; Durand Ruel........-.. 3,900 
44a Seine a ky. aipelaiomaness Du- 

Prnd Riek ernie segment te oleccutn care .11,700 
Pe Conover sur la Seine a Bougival— 

Ren ol} WDWrAyMEMENel cee Pace we ees ,600 


ja Prairle—Renolr ; 
RTO] on tei d Caatees Mialnsas eres 
47-—Canotiers a Chaton--Renoir; Knoed- 
ler & COST Nag eas ke Pala eres wrens 27,000 
48--Printenips—Claude Monet; Durand 


46—Dans 


cen eer ee 


the Hotel P 


BRUGES 5 ics 5 etere WR nail O12 Si otatatalie Lyle Soe ecw ,500 | 
49—Bords de la, Seine. a Vernoi—Claude 
Monety) Durand Rueliws 6 cose ta ces «0 'D, 300) | 
50-—Peupliers en Automne a “Giverny— 
Claude Monet: Knoedtér & Co........ 6,000 } 
51—Pemme et Enfant—Renoir; Scott & } 
Aa RYT DESH gee Sais se Re eek tao ee 000 
—Jeune Femme assise—Renoir; Du- 
Band RUC a ios eee Shia aaah e Oe 
538—Les Deux Soeur s—Renolr: Durand 
FEEFEL: oS olaoa tess Meat viralie -d bie hole lege BU Rear ee 7,000 
54--Femme a YOmbrellé “Renoir; “Scott 
v& BOWES, 6 ce eect te ee . 6,200 
55--lInondations a Moved itred: Sisley ; 
3 Hedley 5M s Hiehitae vee ieaies + 6,300 
56—-Pommiers en Fleurs: Temps gris— 
Camille Pissarro; Lorenz, agent...... 8,700 
$7—-Femme .sortant du Bain—Degas; 
pastel) Durand Ruel o20. an ea aGate alee 6,700 | 
5b¥—Danseuses Hoses—Degas; pastel; C, 
Fla HAWS Se Sy aaa ae ae « 6,800 
50—Matinee sur la Seiné—Claude Monet; 
DUAR. Riel oe eu ee eee 9,000 | 


6(—-La Tamise a Londres: ‘Les Ponts ‘de ) 


Charing Cross et de Weatminster— 
Claude “Monet; Knoedler & ©o......:.. - t, 000 

6i—-La Tamise a Londres: Le Pont de 
Charing Whe aMed ahah Monet; Bernet, 

agent 

62--Les Nympheas; 


orn geee 


yee 8 ore , 


"Paysage a’ Eau— 


Claude Monet; J. POMC ee heey on 1,100 
(3-—-Bois d’Oliviers, gf SEH pees; 

Mone.} Durand ‘Ruel... 5.6022). te ces, 8,000 | 
64—Femme Decolletee (portrait de “Mme. 
du Paty), pastel—Edouard Manet; Lo- 

TANZ, -ABENt veel we aN ea - 4,500 


65-—Devant la Psyche--Edouard “Manet: 
Durand Ruel . 


Sienna 


names h 
chases. ae sale will be ep: 


be sold includ 
masters, Sat 


5 


’ 
DE RhoA ps ea Ana S 


bind pat Reka 


ce. WAS large oné, inelud- 
ae in the social wot d 


both for the appear- 
blade pietures and for 


J Hitered when, Degas's 
the Bath” appeared under 
ights, but their smiles 
‘to respect when it was 
wn for $6,700. Renoir’s 
_Chaton’’ sold to Knoedler 
or $27,000 and Durand- 
2400 for Monet's “Devant 


pictures that ne for $200 
s follo ws: 
Bite; daistaaipe and 


: ee ptiee Varga! Aig! 450 

; stchagin. ‘Portrait of a 
the District: Near Moscow; | 

tein Cee ee a 200 

ang Cameron, Loch Linnhe: ie 

n Le “Havre; Otto, ‘a 
(DCRR BIE. AChE AAA HEE teas 
| ang Cameron. Broad ‘Har- 

lew; Otto Bernet. Ngee: DS dan coy 500 | 


olphe Monticelli, The Wise Men; 
ey tay BRON ht Phin mdse oe B00 
ae “Maison et Canards; 


“Automne sur “la ; 
4 R. H, Lorenz, agent...... 9,000 
Bande Monet, La Debacle: Serie des | 
'  Glacons\a Vetheuil: Durand-Ruel..,,..:16,900 
mC Naude Monet, Sentier dang |’lle St. 

_ Martin, Vetheuil; Durand-Ruel......... G00 


- 


|e 
Chaton: faced: & Co 


art experts. There was |? 


Some newcomers 


cost ee esses seep eeees tee enero eeee 


“@ Avoine 


edler me. 
fonet, ‘ta Baie “iia 
Fumees, Waterloo. 

. Seaman, agent........ 

. La Tamise, Au Pont 

} ; BE.R: Cam ybell. ...4 
eet, La Waviae. arle- 
de Soleil; Knosdler & wee 
Monet, Le Soleil dans le 
Londres: Waterloo Bridge; 


a ee ee) 


nd-Rue 

it Monst, Veni: Palais Ducal; 
\ . Healey.. iS At EyasbigikuGiglt Oil tm wee eeane 
ude Monet, ‘Venise, Palais Dueal, 
de San Giorgio; Knoedler & Co.... 
spr pag ee Yeni se, Le Palais 
MERIC ei ai oes he hres 
ste Renoir, Environs de 
arand-Ruel abet eh ued Jee 

ste Renoir, La Seine ‘a: 


Durand-Ruel ssa Neteais lariahat Ea d ane ew treed 
uguste Renoir, ‘Canotlene a 
iat laude Monet, Printemps: . Durana- 
RIBS Al ade fie i sam meee Aha Can ant, ie gies 
49—Claude Monet, Bords de la Seine a 
Vernoi; Durand-Ruel..... SMe aad pie ee 
| 50—Claude- Monet, Peupliers en Au- 
tomne a Giverny; Knoedler & Co...... 


)  51—Pierre Auguste Renoir, Poesd hi 


_ enfant; Scott and: Fowles sn eae, 


5t—Pierre eauith Renoir, Femme a 
lOmbrelle; Scott and Fowles......... Ep 
55—Aifred’ Sisley, Inondations a Moret ; 
GAT Stag & UTNE GRR pa HR ay eR SR HC NO ADR Eas 
56—Camille Pissarro, Pommiers en Fleuws : 
Temps gris; Miss RH. Lorenz, agent. 
o7—Hdgar Degas, Vemme sortant du 
PAE Sc LY UPI ERIE ess H's BREE So ailoua te wis 
58—-Hdgar Degas, Lh nada Troses; C. H, 
FEROS 50251 te diy seating st dis gata vee vod atelaa More (05 Pipes a 
53—Claude Monet, Matinee sur i Seine; 
Maran Rare sips 4a aes bee saat so eae co wha 
60—Claude Monet, La Tamise a Eendres 
Les Ponts de Charing Cross et de 
Westminster; Knoedler & Co...... vet 
61—Claude Monet, La Tamise a Londres : 
Le Pont de Charing Cross; Otto Bernet, 
ROT Veit ra Lou bia cer ale the wales Be ee eRe 
62—-Claude Monet, Les Nympheas: Paysage 
Gat sayy Bs SP OMCR 129 oH a nacre hs wie ieee 
63-—Clande Monet, Boise ‘a’ Oliviers, Bor- 
dighéra ; Duranda- PRE Lass val een ee Wicewiecs 
64—Edouard Manet, Femme decollettee 
(Portrait de Mime. dy Paty); Miss FR. 
EEC Lioree’ agent ecg oc ocho ss ee eatoe 
“66—Edouard Manet, Devant la Psyche; 
PUP AT IRUCH si vale Cea hes ba ou lay coun ng 3 
66-—Hdouard Manet, Portrait d’Homme¢; 
APT AOE IO bil) 5 ns sas ale etd o alee lean bio Pe 
67--Henri Harpignies, Boat, Stream and 
Shore: Scott and Fowles \:.....0...).5.. 
68—-Theophile de Bock, Pool and Distant 
Church; @, Bernet, agent.....0..665.5.5. 
69-——-Hrederi¢k J. Wiley, Landscape with 
PUaned th) CHIDDATA S 2ieisacserehaaeeaet 
70—Jean Jacques Henner, Tete de Femme 3 
Nc Ra IRE. ae Neat Soc AU S27 ge ARUN a ge mr PI A ee Oe 
7i--Jean Gustave Jacquet, The Amateur 
PIE Wer MOLE inca lNiid caw nilibsed: eae 
72-—-Georges Michel, Landscape; T. E. 
EDO ees Ana Retr cu meu a Ulery nue wikis tee ppg Wiedertheine 
73—Gilbert Munger, On the Seite; Ar- 
Liston) GALETIE Sas ee ones chloe tem iclod wih > Sa 
76¢—Christoffel. Bisschop, Saying Grace; 
FLOWEY y SOR ULSTER As tis eS iidhe  Oa Nie wis deo oes 
78—-Gustave Loiséau, Les Bords§ de 
Eure: Le Matin; Durand-Ruel........ 
79—Jules. Worms, Spanish Dancers; M. 
TS TOP TRULIA A ishien s eit ctolh wa Rees Gc eee as 
8)--Maxime Maufra. Coin de Piage: 0. 
Berrie. Ow Alii a les hol vacipey chee teleides Gus 
82—Gilbert Munger. The Two Brothers: 
Commoddére Art Gallery. 2 yess 
$3--Thomas Moran, Venice; T. E. Hodg- 
NSB ea Pe Met gh, vo edie eae edi dale die 
$4—-Eugene Ver boeekhoven, The Dead 
Lamb: I Berryman. 20.0... AP hae, Oe Biaetege 


s9—¥rits Thaulow, La Seine en Novem- 


bres: Oc Berebeliny ay Y.io sey ne tae by tae ses 


hen EG he SOs a as ey Pe Aes 


erate iiiet 


rand- Ruel Puen ee iv basieele 11 


anes 


7,700 
9,000 


14,100 


8,100 
3,500 
6,306 
9,100 


28,006 


6,000 


16,000 


» 7,500 
7,000 
6,200 


7,2 
7,100 
6,000 


4,900) 
12,406 
1,606 


eh A et ee. al 


ee eee 


aes St eae ected 2 tk : 


u ee ee ee eee 
; intemp i 
“Bors ‘de la goines” M 
ees en Automne,’ “ 

“come” Ot “Enfant,” “Renoir: 


oe Femme Assise,” I : 


wet eee 


o¢ 


R, H, Doten SO ee ; ‘ 
eee eietan a ain. ‘fiiiaire 
a urand- 
tu ieee " dtale” Degas; pen 


Pat USaaus Tees eas oe 
4 uel webiesteessceecvnee ne ian Ee 
aa me de Westintster)” 
- Knoedler & -Co. ‘ 
i et ai RS "Londres,’” "Monet 
The AGENT} sco k ho hacia ee eee 
Nympheas,’’ Monct; B. Jones. 
“Bois d'Gliviers, x Monet: Dintue hee 
ae “Decolietee,”’ Manet; Miss R. 


‘Peyent 1a Psyche,” “Manet: ’ Durand-Rhel - i 
‘Portrait d? Homme,” Manet Durand-Ruel 1,€ 
“Boat, oe pus Shore,’ H peerrlenere i vr 
Scott BWIOB i dina is eee a sige 
“Poo) and Church,’ T. De ‘Boek Otto _ 

Bernet (agent) ...... Stu laTe & ares 
‘"lete de Femme, iS Jean iT: “Henaer: “Hol- 


a held, took, place in. th 


far a erand. total ae Ssate 125. 
biddin was very spirited. . There wa 


land: Galleries ..:.... De aes OA pe 
*“*“Amateur Abbe xa Jean G. "Jaequet; we 
Burnett er eee ere eee eae eseoeee eee ee ewes 
‘‘Gandseape,’? - Georges | “Michel: G. E.. 
Sra oO; 66 - Hotehkiss re ee ae ee 2 ee ea 
rt B ne of these Ders. la Paaek . “On the Seine,’ Gilbert Munger; Adiogeaee 
‘mocked down to the Durand-Ruel| G2 1eUe8 occa: gt Bisschobi’ WH." Sebi 
{ot $28,000, while another went tol fl yszac*ae* pure 6.” Tahaan 
ler & Co. for $27, “ DPurind-Buel..k. eee ett eaee Mi 
* $27,000. The Femme ‘Spanish Dancers,  Fules Worn rants MM 
nfant fetched $16,000, which was paid eanenbaum ..... rae 6) ath 
y Scott. Fowles, Gee aay ee 
! i ‘ 
je een competition ror ene “Aria: i Sine 


works of Claude Monet, especially for the “Venice,” Thomas Moran; T. E, Hotch-_ 


Fe kiss . 
: examples of the ‘London group.” Of the | “The Dead Lamb,” BL " Verboeckhoven: he 


i oe ie ifshest! price was paid for “as Seine én Novembre," i Frits “‘Thadlow! 
; a a 'sye ce elsheim, ...... : 
i vené, & painting of a pee large was the attendance that “for ‘the 


Cope The same artist’s 

pastels were. 
also. exceedingly popular. (A Sisley, -“In- 
_ Undations a: Moret,” fetched $6,300, ane 


greater part of the sale persons ‘were 
standing up on all sides of the.room. — 


i g 2. The predictions that had been Gad 

| Phan, Sania Bod OF wie about .the high prices which would be) 
ete ‘bolight dor 1, rat of the canvases fetched by the Renoirs were fully justified. 
Uae and-Minneapots ne museums in Boston As for the Monets, the figures showed} 
Ee NEA! pietares a : that the competition for his work is bound}. 
* + Reta Bie he brought more than to. increase rapidly in the future. His] 
a4) irs S, the buyers and the prices London picture of the House. of. Parlia-| 
eee at order, were:— ment, a study of sunlight, brought’ $14, 100, 
NYS “Tandscay e,”’ A.D. K. Van Elten; R. O, tbe highest price’ of a painting by| 
“Figure ah So crea a ee $215 douard Manet was $12,400, for “‘Devant 

Pe Seott & Fowles. Alfred’ “Stevens; Ns Je, Psyche.” 

ae Girl,’? “y.” Verestchaginy” Tit 450| . The sale will “be continued ‘tomorrow 
hy el saaltatie, Py eae : eat py é | 300 | evening in the same place. . bs ’ 


Se TN vate acid 

“Broad nots > “Dp, BO vnvosmaces iad $56) 

oN ag agent . , ie: ! Cae ‘ee 500 . 

: ES ey ine ei thant in ae Ia » re | 
kemotnagighe A Montieeili We ye, 
es intchg eon et Canards, 9 Monet: os Darana- 500 


ar pate ea 


ee kine la’ Seine 2 | Mone ie ian 6,100 


“te Depa ne eth Dees: ++ 9,000 
2 urand-R 
agentier St. Martin,” Monet; a Ruel nies "Zeon 


ae er a -Vetheuil, ah Monet; Knoedler 


é fii, th 
BORA Ais eas ceee z 7 VW 
ie Matin, * Sope': pepe ye reese d bw (6 
Cos 


Nan euaeee Rew les ole 


at Wie RP. ONS lesa eid gs ping dio 
. 


PRG NEL pO DRO 10,7 
ae ; ip d’ Avoine, “Monet: Doses Ruel, 30,70 


ee ea Shas 
i , Tamise, Effet de ‘Soleii,>* ‘xgore is WI 
1a Pamise, de" Chasing “Oro05,08 Migags 7270 
Ta ee aes SERRE RIO oak s+.. 9,000 
Khoedier &'Cor®,, Parlement." stonet; 1"? 


Ay 
ON FREE PUBLIC VIEW 


FROM 9 A.M. UNTIL 6 P. M. 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING FRIDAY, JANUARY 9th, 1920 
AND CONTINUING UNTIL THE DAY OF THE SALE 


HIGHLY VALUABLE PAINTINGS 


OF STERLING ARTISTIC DISTINCTION 


BELONGING TO PRIVATE COLLECTORS AND TO 
SEVERAL ESTATES 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


IN THE GRAND BALLROOM OF 
THE HOTEL PLAZA 


FIFTH AVENUE, 58th TO 59th STREET 


ON WEDNESDAY AND THURSDAY EVENINGS 


JANUARY 14th AND 15th, 1920 
BEGINNING PROMPTLY AT’8.15 O'CLOCK 


ILLUSTRATED CATALOGUE 


OF HIGHLY IMPORTANT 


OLD AND MODERN PAINTINGS 
OF STERLING ARTISTIC DISTINCTION 


BELONGING TO 


MR. ARTHUR B. EMMONS, Newport 


TO THE ESTATE OF THE LATE 


THATCHER M. ADAMS, New York 


TO THE PRIVATE COLLECTOR 


MR. JOSEPH | F. FLANAGAN, Boston 


COLLECTIONS OF THE LATE 


MR. HENRY SAYLES ann MR. HARRIS B. DICK 
BOSTON NEW YORK 


AND OTHER ESTATES AND PRIVATE OWNERS 


but Span ee, ™ x? Wie of 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


IN THE GRAND BALLROOM OF 


THE HOTEL PLAZA 
ON THE EVENINGS HEREIN STATED 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 
AMERICAN ART ASSOCIATION, MANAGERS 


MADISON SQUARE SOUTH, NEW YORK 


oe! Ree Te ee ce 
. oS ae, 


pS i 
a < Faia 


THE AMERICAN ART ASSOC 


ALL DETAILS OF ILLUSTR 
TEXT AND TYPOGRAPHY 


1610 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. % 

2. The highest bidder shall be the buyer, and if any dispute arise 
between two or more bidders, the auctioneer shall either decide the same 
or put up for re-sale the lot so in dispute. 

8. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4, Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 


which the Association is in no wise engaged, and will not be performed 


by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. ‘Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 
for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 


within ten days from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of any 
lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale,-after which 
it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 


foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


i a ll cco a adil) sel Te Li pe Toe 


i 
P 


FIRST EVENING’S SALE 


eee oer JANUARY 14, 1920 


IN THE GRAND BALLROOM 
OF THE PLAZA 


BEGINNING PROMPTLY AT 8.15 O'CLOCK 


WATER COLORS AND PASTELS 


GEORGE HENRY BOUGHTON, N.A., R.A. 


AmeERiIcAan: 18384—1905 / / ; 


1—RIP VAN WINKLE 


Hoe (Water Color) LK. bi, Ze 


Height, 1334 wches; width, 934 imches 


Rip after his sleep, with long white hair and beard, clothing in tatters, 
gun-stock falling to decay. Im fields on the outskirts of his village he 
approaches two frightened little girls who flee with their dolls to the 
arms of a young Dutch woman—she herself bewildered by his appear- 
ance and questionings. Pine forests and the Catskills in the back- 
ground. 


Signed both at lower right and lower left, G. H. Boucutron. 


From the collection of the late H. B. Dicx, New York. 


LOUIS JIMENEZ 
SpANIsH: 1845— 


2 THE READER 
(Water Color) 


Vi Height, 1314 inches; width, 9 inches haber be Salle 


An elderly and bewigged man of florid countenance is seated in a red- 
upholstered wooden armchair, facing the front but turned slightly, as 
he leans with his left elbow upon the chair-arm, reading a large book 
which he holds in both hands. Plum-color breeches and a pale yellow 


gown with brilliant floral embroideries. 


Signed at the lower left, Louis JimENEz, Paris. 


From the collection of the late H. B. Dicx, New York. 


ALBERT HERTER 
AMERICAN: 1871— 
3—CLEOPATRA 


xo & (Water Color) y, Wh. %. Vy, / 


RIES 12 wches; width, 6 inches 


Tue Egyptian in a more or less modern presentment, holding herself 
with regal hauteur, is seated, entwined in gauzy garments of soft col- 
oring, upon an exalted throne. A green asp circling her bare shoulder 
mounts above her red hair, and at her feet are two black cats beside 
a crystal sphere. 


Signed at the lower left, Atpert Herter, 791. 
From the collection of the late H. B. Dicx, New York. | 


| ) - 


GEORGE HENRY BOUGHTON, N.A., R.A. 
: American: 1884—1905 


4—“ICHABOD PRIDED HIMSELF UPON 
HIS DANCING’—Legend of Sleepy Hollow 


Vee (Water Color) Ah, Za Sp bbe : 
Height, 181% inches; length, 17 inches 


“Nor a fibre about him was idle * * * you would have thought St. 
Vitus himself was figuring before you in person.” In a grayish room 
of a spacious old house with plain wood floor and beamed ceiling—belike, 
Van Tassel’s—a considerable company of young folk in Dutch Colonial 
costume are gathered for a dance, to the strains of a colored violinist 
with gleaming ivories. At the centre the black-clad Yankee school- 
teacher trips the light fantastic with the belle of the evening, to the 
disgruntlement of his florid rival, who clenches his fist behind him. 


Signed at the lower right, G. H. Boucuton. 
From the collection of the late H. B. Dicx, New York. 


ery x 
| CY \) F. HOPKINSON SMITH 
AmeErRIcAn: 18388—1915 


(Water Color) Mb tetth, digewh 


Height, 131% mches; length, 2414 inches 


5—VENICE 
/GO 7 


One of the famous ecclesiastical buildings of the Queen of the Adriatic 
stands at the left, its palatial portal graced by statuary and blossom- 
ing flowers, and peopled by a varied throng. Before a neighboring 
palace gondolas, and back of it a campanile. Pale robin’s-egg blue 
canal mirroring many soft hues. 


Signed at. the lower left, F. Hopkinson SMITH. 
From the collection of the late H. B. Dick, New York. 


THOMAS MORAN, N.A. 


American: 18387— 
6-—VENICE 


/b6- 


Tux spectator looks up the Canal San Marco and the Grand Canal, 
with the Prigioni, the Ducal Palace and the Campanile in soft coloring 
and a diffused brilliance of lighting, on the right, the Salute group in 
soft silhouette on the left. Before either shore, gondolas and sailing 
craft, with canvas of rich color. 


(Water Color) | , 
Height, 1444 mches; length, 24 inches O44 Py, 


Signed at the lower left, T. Moran, N.A., 1889. 
From the collection of the late H. B. Dicx, New York. 


WILLIAM T. RICHARDS 
| (, O Axrmnican) 1888-20008 
"—ROCKY COAST 


(Water Color) : 
/, ut 
60 t Height, 16 inches; length, 25 inches laaegel J 


Ar left a deep blue sea and a flat horizon, under the darkening gray of 
a stormy sky. In the foreground waves breaking and rolling in white 
foam up a beach broken by rock shelves, and at right a great rock wall 
which projects tall cliffs into the sea, white spume striking high against 
them. 

Signed at the lower left, Wm. T. Ricwarps. 


From the collection of the late H. B. Dicx, New York. 


HENDRICK DIRK KRUSEMAN VAN ELTEN, N.A. 


e AMERICAN: 1829—1904 


ra 
8—LANDSCAPE AND FIGURES 


(Water Color) 


fot O-7v Height, 184% inches; length, 30 inches Ad . 0) 


Tue fall air is raw, frosty the surface of rocks and tree-trunks; low- 
hovering clouds seem ready rather to release snow than rain. Up a 
hill road on the right a farmer drives his team and laden wagon, while 
a wayfarer on foot holds converse with him. At left a stream and brush. 


Signed at the lower right, KrusEMAN VAN ELTEN. 


From the collection of the late H. B. Dicx, New York. 


.; OIL PAINTINGS 
las 


— 


} on 
aw 


—_—~ 


| a THEODORE CEDERSTROM 
' | SwepisH: 1845— 


9—A TIGHT CORK 
(Panel) 


Monen 


IA So sd Height, 914 inches; width, 7 mches A MacocdGe/ A is 


In a bright light which shines upon a white interior wall, a rosy monk in 
brown habit is observed at three-quarters length, drawing the resistant 
cork from a bottle of wine. He wears a blue apron and bends to his work 
with grim purpose. Beside him a brilliant copper bowl stands upon a 
carved wood chair which is within his shadow. 


Signed at the upper right, Tur. CeperstromM, MUNCHEN. 


From the Mary J. Morgan Collection, New York, 1886; No. 46. PGE 


Property of Mrs. E. W. Bass, New York. J Vv U6 / (*) 


7 ney WILLIAM BLISS BAKER 
A | | J American: 1859—1889 


10—THE WINDING STREAM: A HAZE 


70 4 Height, 9 wches; length, 12 inches v4 : dnuadtleck 


Into the angle made by a bend in a wandering creek a point of land pro- 
jects from the right, bordered by trees that are all but leafless, and low 
brush that shows some color above the shaded green of the grass at 
its foot. A haze is in the air and before the sky, back of the trees is 
a rough clearing, and the water surface shows various reflections. 


Signed at the lower left, W. B. B. in monogram. 


From the William Bliss Baker Sale. 9/p Cac*envied y 3 bec dé ée) 
Property of Mrs. E. W. Bass, New York. , 


LEON RICHET 
& Frencu: 1847—1907 


\ 


| \* 11-LANDSCAPE WITH POOL 


JOO7 ane AM lblubhines | 


Height, 7% inches; length, 10% inches 


In the foreground a blue stream spreading eccentrically within marshy 
lands, colored with reflections of a variously clouded sky and of mas- : 
sive and bushy trees standing on its farther verge. Leafage of the | 
trees is warmed and enlivened by slants of sunshine which also lighten 
fields of roughage beyond them, and near the edge of the water a 
woman is standing, on the right, a red shoulder-scarf setting off her | 
white peasant’s cap. : 
Signed at the lower right, Lton RicHer. 


From the collection of the late H. B. Dicx, New York. 


‘ 


it O JOSE WEISS 
; a BritisH: 1859— 
12—LANDSCAPE 
(Panel) 


/KO + Height, 10 inches; length, 15 inches Al Abayuaed. 


From high on the left a green hill falls away to a wandering stream, 
which comes with some vigor of flow down through the centre of the 
composition—here and there white, as the water tumbles over miniature 
falls. The green bank at the foot of the hill is of rough land, a 
single small tree grows on it in the middle distance, and in the right 
of the foreground a larger tree bends its struggling trunk over the 


stream. 
| Signed at the lower right, JosE WEIss. 


Purchased from Scott & Fowles Company, New York. 
From the collection of the late H. B. Dicx, New York. 


OO WILLIAM MORRIS HUNT ie 
AMERICAN: 1824-1879 
13—AN ANGLE OF SAN REMO Ay. fucbeamsre 
S007 Height, 1234 inches; length, 14 inches 


A sTREET scene without figures; an arched passage where daylight is 
dim leads back to a narrow transverse street where sunshine mellows 
the creamy walls which cross the line of the passage. There benches 
with commodities stand at either side of a low doorway. Within the 
passage the building walls are in low tones, reddish, brown and green. 


From the collection of the late Henry Sayurs, Boston. 


ANTOINE EMILE PLASSAN 


Frencu: 1817—1903 


14—PARENTAL PRIDE 


I$0 x (Panel) OE ey | 


Height, 105% inches; width, 83 inches 


In a high-back winged armchair of carved wood, with red upholstery, 
a young and buxom mother with blond hair and rosy cheeks is seated 
facing the spectator, and looking down at the plump and partly nude 
infant asleep against her breast. Leaning over the wing of her chair 
the father looks on with placid concern. He is in black velvet with 
white lawn and lace collar, and the mother is in a loose white waist and 
blue flowing skirt, over which is spread a white drapery on which the 
child rests. 


From the private collection of the late ALBERT SPENCER, New York. 


Signed at the lower left, PLassan. 


Pye 


ike 


ha? ALS ALFRED STEVENS 


Betcian: 1828—1906 


\y 15—FIGURE IN SUNSHINE 
4 NSO 7 Height, 111, inches; width, 81 inches Jette ie 


HatF-LeneTH portrait of a blue-eyed young woman with reddish-blond 
hair, standing in a porch doorway at the corner of a red brick house, 
sunshine streaming down on her from the left and the green trees of a 
garden or orchard back of her. She is in a rose-white waist striped 
lightly in blue, and holds at her waist a bouquet of freshly gathered 


flowers. 
Signed at the lower right, AS (in monogram). 


Accompanied by a certificate from the artist’s son. 


From the collection of the late Henry Sayuezs, Boston. 


HENRY A. FERGUSSON, A.N.A. 
AMERICAN: 1842—1911 


16—CHURCH INTERIOR 


tor Height, 1514 inches; width, 1284 inches” LE, ttttbehies 


SECTIONAL view of an interior of a church of rounded arches and bal- 
conied clerestory, with square-based round columns having Corinthian 
capitals, and a rich mosaic floor. An aisle leads straightway toward 
a chapel with the effigies of saints over the entrance, gleams of golden 
sunlight touching the walls, and at left is a glimpse of the nave. A 
woman kneels before a crucifix, and two other worshippers appear. 


Signed at the lower left, Henry A. Fercusson, 1875. 
Property of Mrs. E. W. Bass, New York. 


VAS SILI VERESTCHAGIN 
Russian: 1842—1904 


17—PORTRAIT OF A GIRL OF THE DISTRICT 
NEAR MOSCOW ; AGE, 15 YEARS 


fh 300 7 (Oval) A Loewtuctin 


Height, 1414 inches; width, 1214 inches 


Heap and shoulders portrait of a rosy-cheeked girl, her dark hair 
parted in the centre, straggling over her ears and brought in a braid 
over her left shoulder, as she faces the spectator with direct gaze. She 
is in a light waist low at the breast, and her neck is encircled first by 
a necklet of pearls, then by a heavy necklace of three strands of large 
and brilliant red beads, the lower line intermingled with beads of green 
and black, while a second strand of black and white pearls is inter- 
polated. A further necklace of variegated jewels overlies her corsage. 


On the back, stamp of the Verestchagin Collection. 


From the public sale of the bee Collection, New York, 1891. 
Catalogue No. 60. Wu haw me Celils gine 


Property of Mrs. E. W. Bass, New York. 


oH DAVID YOUNG CAMERON NN 


BritisH: 1865— 
18—LOCH LINNHE 


LHO7 Height, 16 inches; width, 18 inches fight, Aro, 


From the right, close in the foreground, projects a gray,-forbidding 
cliff—at its foot a bit of green herbage and of light grayish be Ch in 
the background, bare-topped mountains diminish in perspective, as they 
cross the picture from left to right, beneath a grayish sky. And within, 
between the mountain background and the jutting foreground shore, 
the Loch lies—its great sea stretch a soft blue-gray and white, and 
embracing in the middle distance a large island. 


Signed at the lower right, D. Y. C.; also on the back: 
Locu Liynug, D. Y. CamMEron. 


From the collection of the late H. B. Dicx, New York. 


KO JOHN ROLLIN TILTON, N.A. 
AMERICAN: 1833— 


(Panel) 7 ee hu. wer 


Height, 11 inches; length, 181% inches 


19—VENICE 


Jo-+ 


Tue spectator looks toward the city’s centre from the water, with a_ 
group of sailboats blocking out the Piazzetta. Above the tops of the 
sails towers the Campanile, and to right of them appear the domes of St. 
Mark’s over the roof of the Ducal Palace, and below, the corner of the 
Prigione comes into the picture. The sails of the boats lying in mid- 
stream are rich but soft in color, pale red and yellow, with white and 
neutral tones. Figures are seen aboard the boats, others ashore, and 
at the left are gondolas. 


Property of a Private Collector. 


LOUIS EUGENE BOUDIN 1 
Frencu: 1824—1898 


| 20—LE HAVRE 0. bstouth, 


NJ ZL Sb ¥ Height, 914 inches; length, 18 inches 


A ass of shipping is depicted in the port, in part illumined by sunshine 
coming through rifts in gray clouds before a blue sky, part in relative 
shadow. Tall masts of square-riggers with sails furled rise high and 
in places seem to present almost a tangle, above hulls white and black 
and with touches of red and of cream. In the background the dark in- 
determinate line of the shore. 

Signed at the lower right, E. Boupty. 


From the collection of the late Henry Sayurs, Boston. 


_ 


DAVID YOUNG CAMERON | 
Britisu: 1865— 


21—BROAD HARBOR VIEW 


Se (Panel) 
OO 7 
af Height, 13 inches; length, 16 inches 1 une, Lywk 


From the left the sea sweeps in broadly and with placid majesty, mauve- 
gray at eventide, matching the sky, between a narrow and low green 
foreshore and a long, low point which puts out from the right in the 
distance. A solitary yawl is seen far away. In the foreground, through 
a break in the shore, the water pushes in pulsing wavelets: which ee 
varying hues, relieved by the bubbling white of encircling foam. 


Signed at the lower left, D. Y. Cameron. 
From the collection of the late H. B. Dicx, New York. 


LOUIS LATOUCHE 
Frencu: 1829—1884 


22—MARINE WITH FIGURES ! 
7, ip O-7 Height, 15 inches; length, 157 inches 1 /bt01th ? Agumh 


A BLUE-GREEN sea, under a breeze but in slight motion, lightens its hue 
in the shallows, and sends in choppy wavelets that break white on the 
sandy foreground shore. Here a fishing-boat lies in a pool on the 
sands, at low tide, a figure is seen aboard, and another approaches 
from the right. In the offing are more fishing-boats, seen against a 
pale sunset sky. 

Signed at the lower right, L. LatoucHe. 


From the collection of the late Henry Sayuxs, Boston. 


i 


= 


ADOLPHE MONTICELLI /” 


FreNcH: 1824—1886 | ae 


23—THE WISE MEN 


S007 Height, 15 inches; length, 18 inches Vis Heaearn legen 


A croup of seven turbaned figures in costumes of splendor, variously 
engaged. One on the right, in golden-yellow, faces the spectator, look- 
ing across the shoulders of a companion in red and white who bends 
forward and is seen in profile. Two near them are in conversation, one 
wearing dark green and his interlocutor deep crimson and gold, and 
beyond them at the left two others are examining a golden ewer, while 
still another stands above them all, his back to the observer but looking 


over his shoulder. 
Signed at the lower left, MonrTicELu1. 


From the collection of the late Henry Sayers, Boston. 


A NOTEWORTHY COLLECTION OF WORKS BY THE 
FRENCH MASTERS OF IMPRESSIONISM 


CLAUDE MONET AND THE LATE 
PIERRE AUGUSTE RENOIR 


Being the Collection formed by 


MR. ARTHUR B. EMMONS, OF NEWPORT, 
RHODE ISLAND 4 : 


CLAUDE MONET 


FRENCH: 1840— RUN me 


24—M AISON ET CANARDS 
6/00 ine Height, 211% inches; length, 251% mches \ 


Parnrep in 1873. In the background a rambling farmhouse of spacious — 
proportions, its cream-gray walls all but hidden from view by foliage, | 
above which the warm reddish-orange roof stands out against an azure 
sky, which is flecked with soft tufts of white cloud. In the foreground 
a reach of a rippling stream—a liquid, chromatic mirror of foliage and 
sky, with touches of the warmer color of the house roof. And at right 
and left, in the water, ducks both white and of colored plumage. | 


Signed at the lower right, CLaupE Monet, 73. 
Property of Mr. Arruur B. Emmons, Newport, R. I. 


CLAUDE MONET 


Frencu: 1840— ( . 


23—AUTOMNE SUR LA SEINE | y 
Go00 = Height, 211/, inches; length, 283, inches v 


Parntep in 1874. From left and right wooded shores converge in the 
middle distance, narrowing the course of the silvery Seine, which is 
whitened by reflections of all-pervading fleecy clouds-about the sky. 
On the right, feathery trees, bushes and the grass are still green; on 
the left, the woods bordering the stream are golden-yellow and flushed — 
with pink. At both banks of the river, boats are drawn up, and in the 
distance, where the stream broadens again beyond the converging 
shores, the buildings of man in his settled civilization appear mistily, 
on the farther bank, in a gray autumn haze. , 


Signed at the lower right, CLauDE Monet, 774. 
Property of Mr. Arruur B. Emmons, Newport, R. I. — 


e 


al 


Bi. AMOR AEDs 


se 
CLAUDE me A yw i | 


Frencu: 1840— S 


2>—LA DEBACLE: SERIE DES GLACONS, 
A VETHEUIL 


LO Goo : Me 
nerd Height, 2334 inches; length, 839Y4 inches Z, 


PainTED in 1880. From the right a range of hills recedes in perspec- 

, tive, in the background, diminishing towards the left, the hillsides snow- 

ve covered and streaked with bluish shadows, beneath a grayish winter sky. 

ae A broad river forms the foreground, its cold, greenish-gray water dotted 
(,0 with snow-covered ice-cakes drifting lazily, as the ice-sheet breaks up. 


A 3 At the shore line tall poplars rise above russet underbrush, their green 
@ spires mounting in some instances above the hilltops; and their lines in 
o reflection accent the clear reaches of water in the river, between the 


i \ov’ patches of broken ice. 
\ 


Signed at the lower right, CLAUDE Monet, ’80. 


Property of Mr. Arruur B. Emmons, Newport, R. I. 


aed v 
a fas ENR ee ge gn Al NY Sl ee (A en EE I OS TL LL. OL ELLOS i a I BR a A ER a 


af ay 
CLAUDE MONET we Ps 3 


Frencu: 1840— WS ye 


o7-SENTIER DANS L’ILE ST. MARTIN, 
VETHEUIL 


700 OST, Height, 3114 inches; width, 231 inches Mutand VET 4 


Parntep in 1880. An early summer day of brilliant atmosphere, with 
white and creamy cloud billows afloat in a turquoise sky ‘and banking 
along a far horizon, beyond a range of verdant hills circling in from > 
the left to the distance—the distance on the right blocked from view 
by slender trees of fresh green foliage, which range mildly forward from 
the right middle ground. In front, a green foreground warmed by 
scarlet and crimson poppies in prodigal numbers, and the vestige of an 
overgrown path through it. Beyond the poppy field, a middle distance 
village in a valley, the village dominated by its rapa church. | 


Signed at the lower left, 1880 CLAupE Mover. 
Pravin of Mr. AxtHur B. Emmons, Newport, R. I. 


Mow 2[, (9ol de S5l eee 


CLAUDE MONET x, 
Frencu: 1840— \ ob V 


298 SENTIER DANS L’7ILE ST. MARTIN iS | 
A VETHEUIL 


F700 7 Height, 2834 inches; width, 2334 inches Jy, Ayocn/» 


Parnrep in 1881. Poppies flourish at either side of a footpath winding 

through a grain field, their rich red in relief against varied greens in the 

4 foreground and enlivening golden expanses of ripened grain in the 

UY middle distance. In the background, beyond an interrupted screen of 

poplars rich in their foliage, a village and its dominating church, in a 

valley bounded by agricultural fields, beneath a summer sky of gray 
and creamy clouds in turquoise ether. 


The composition is substantially the same as that of the preceding lot, of similar 
title (No. 27), the present canvas depicting a day further advanced in the season, 
and having been painted a year later than its predecessor. REY 


Signed at the lower left, CiauvE Monet, ’81. 
Property of Mr. Artuur B. Emmons, Newport, R. I. | 


A Le p wl Mf bree al 


CLAUDE - Yo ye 


Frencu: 1840— 


299—-LE MATIN, TEMPS BRUMEUX, POURVILLE — 
25007 


Painrep in 1882. On the left are tall chalk cliffs, imposingly sculp- 
tured by Nature through the slow ages, and rich in soft colors as their 
varied surfaces refract the sunshine, which itself is sifted and reduced 
in the hazy air that overhangs the French coast of La Manche on a 
summer morning. The cliff colors include greens and blues and golden 
yellows, dulled, in the dimly vaporous atmosphere, to the soft, restful 
hues of some of the precious and semi-precious stones. The cliffs put 
out to a point, in the middle distance, and the in-curve of the shore to 
the foreground reveals, in place of cliffs, shelves and low reaches of warm 
reddish-yellow sand, while to right, from shore to gray-veiled horizon, 
the Channel rolls lazily, a moderately troubled, emerald sea, with blue 
shadows in the foreground mingling with sunlight reece of BE 
ish-gold. 
Signed at the lower left, CuaupE Nets 82. 


Property of Mx. Arrnur B. Emmons, Newport, R. I. 


Height, 2314 inches; length, 28%4 mches Nurand VI 4 


CLAUDE MONET if 


Frencu: 1840— A 3 


30—FALAISE AUX PETITES DALLES | x 
6006 - Height, 231% inches; length, 28°24 inches Nn. Sgocdli « 


PainTeD in 1884. From the left an emerald sea in gentle motion puts 
in to an open bight, and in the middle distance washes the foot of pre- 
cipitous chalk cliffs which in their top conformation are almost archi- 
tectural, presenting the appearance of a group of series of ridge-roofed 
buildings. In the foreground the green water turns to blue, with silvery 
washes, as it rolls in between small boulders to a flat, sandy beach which 
itself 1s bounded on the right by more of the tall cliffs, their face a 
wealth of variegated color. The flanks of the further cliffs, appearing 
in sunshine, are rich and warm in colorful vegetation. 


Signed at the lower left, CLaupE Monet, ’84. 
Property of Mr. ArtHur B. Emmons, Newport, R. I. 


- 
‘ 


“ 


» 


“eer 


eh: 


CLAUDE MONET 
Frencu: 1840— 


31—_CHAMP DE COQUELICOTS: 
| ENVIRONS DE GIVERNY 
10.7004 


Height, 25% inches; length, 32 inches. llitand VIN4 | 


Painrep in 1885. <A green field in wild land, with bold herbage of 
deeper green which rises in rugged tufts before the sky, forms a high 
horizon against a late afternoon sky of creamy clouds tinged with faint 
rosc—pale gray-blue atmospheric depths being visible beyond, through 
rifts in the cream-rose veil. From the edge of the field, which forms 
a background against the horizon, the grass-grown land of red-sandy 
soil dips forward, in a ravine rich with verdure and blossoming flora,— 
tall grasses of green hues both rich and delicate framing a great patch 
of scarlet poppies, which broadens in the foreground until it all but 
fills the picture, being flanked at the left corner by a growth of other 
flowers. 

Signed at the lower left, CLaupE Monet, ’85. 


Property of Mr. ArrHur B. Emmons, Newport, R. I. 


CLAUDE i. 
Frencu: 1840— 


32—CHAMP D’AVOINE 


Height, 251% inches; length, 3861 inches 
7300 7 Mueand Meek 


ParnTeEp in 1890. In the murky atmosphere of a humid day, far hills 
lie milky-blue against a sky of cream and faint mauve, and the valley 
of an unseen river separates them from a broad field of high land 
filling middle distance and foreground and grown with grain and grass 
and flowers—an oat field thickly sprinkled with the blossoms of orange 
and red poppies. From the right, projections of trees appear, in the 
middle distance a misty, hazy gray-green, and in the nearer foreground 
a rich, full green, moist as rich, and varied in charm by violet shadows. 


Signed at the lower left, CravpE Monet. ° 


Property of Mr. Arruur B. Emmons, Newport, R. I. 


CLAUDE MONET / \ 
Frencu: 1840— iv : 


| % wy 
383—LA TAMISE, EFFET DE SOLEIL: | 
WATERLOO BRIDGE 


Height, 2514 mches; length, 3914, atin 


PartnTeED in 1903. The relatively flat line of the famous bridge, above 
its low, broad stone arches, crosses the picture at a slight diagonal, re- 
ceding toward the Southwark shore, down-stream, where in the back- 
ground tall towers and chimneys rise monumentally in -an opalescent 
haze permeated by a tinge of purple-rose. The hazy atmosphere ob- 
scures the building-masses on the shore, and absorbs but reluctantly the 
varying clouds of chimney-smoke, which merge with the sky. On the 
face of the bridge the filtering sunlight plays in creamy notes, which 
reappear with blue and rose in the misty procession of busy bridge 
traffic above,—all these warm chromatic notes relieved against the 
vague blue shadows of the archways beneath, where the stream passes 
from a foreground of rippled, liquid iridescence untroubled by boat or 
shore-structure whatever. 


/2000 2 


Signed at the lower right, CLAuDE Monet, 1908. 
Property of Mr. ArrHur B. Emmons, Newport, R. I. 


16 wee 
oe Le 
CLAUDE MONET : bs YY | 


Frencu: 1840—- | 


34LA TAMISE, EFFET DE SOLEIL AVEC 
77, FUMEES: WATERLOO BRIDGE 
064 


Height, 2514 inches; length, 391% "LU, J a 
Ip. é ee 


PaintEpD in 1908. London and its river in fog—the dense mist made 
the more impressive by direct rays of sunlight which have pierced the — 
vapor and illumine a stretch of water in the right foreground, turning 
the disturbed surface of the stream to gold and fire, and bringing into 
relief puffs of mauve, smoky-vapor, rolling low over the water from a 
passing tender. Crossing in the middle distance is Waterloo Bridge— 
shadowy, dark, a strange and fascinating blue, in massive proportions ; 
and beyond it are penumbra] edifices, and tall chimneys from which 
smoke trails across the fog-obscured sky, dully opalescent in the neigh- 
borhood of the struggling sun. 


Signed at the lower left, CLaupE Monet, 1903. 
Property of Mr. Axrnur B. Emmons, Newport, R. I. 


CLAUDE MONET 
Frencu: 1840— \ 


35—LA TAMISE: AU PONT DE CHARING CROSS 
Jobe 4 He 2s ah Meg 


S. 


ParnTED in 1903. The spectator looks up the River Thames “from a 
point just below Charing Cross bridge, which spans the stream and 
the picture in the middle distance. The current is running strong in 
the river, which like all the landscape is under a fog, and the wave- 
crests are encrimsoned and set aflame by reflections and refractions 
from the golden sun, which, high aloft, is emerging from the dissi- 
pating vapor. On the bridge, at right and left, trains are moving in 
the denser shadows of the fog, and the smoke of their engines curls in the 
sluggish air, and catches a light of the sun that turns the smoke a 
purple hue within the gray of the fog. At right, in the background, 
are dimly seen the Parliament buildings, with towers rising boldly 
against the sky, and at their foot, in the path of the sunshine, appear 
arches of the Westminster bridge. | 


Signed at the lower left, CLaupDE Monet, 1908. 
Property of Mr. Arruvur B. Emmons, Newport, R. I. 


36—LA TAMISE: LE PARLEMENT; | 
EFFET DE SOLEIL 


J/N1OO~>4 


Height, 32 inches; length, 364 siadias” Ny, Me) Eo i'w Ooi 


Painted in 1903. Out of a foreground of blue water, dappled with 
pale green, in the play of a subdued and struggling light upon its 
ruffled surface, the towered mass of Westminster Palace rises in blue 
and purple silhouette against a mauve and yellow-gray sky. Detail, 
of this architecturally rich home of the “Mother of Parliaments,” is 
lost, and only mass and low-keyed color stand forth in a dense, heavy 
and dark atmosphere, which is broken high on the right by an arc of 
a radiant sunburst, whose reflections of red and gold glorify, in con- 
trast, a patch of the sluggish but moving river at the edge of the co 
ground beneath. 
Signed at the lower left, CLauDE Monet, 1903. 


Property of Mr. Arruur B. Emmons, Newport, R. I. 


CLAUDE 7 4 ve 
Frencuo: 1840— w iy | ; 


37—_LE SOLEIL DANS LE BROUILLARD, 
LONDRES: WATERLOO BRIDGE . 


d, VA 00 ez Height, 28°4 inches; length, 361% inches . j 

9 denacas eel 
PainTeEp in 1904. One of London’s great fogs, dense, deep, hangs over 
the Thames, enshrouding this bridge which fascinated Monet as it has 
fascinated other artists, French, English, American. ‘The bridge, its 
traffic proceeding despite the fog, crosses the line of vision midway of 
the picture—seeming almost a mighty, imponderable shadow, rather 
than a formidable structure—its character made clear only by the 
pale light reflected beneath its arches from the fog-obscured sun over- 
head. The sun, bursting through the bluish fog, throws a broad streak 
of weird light—a hot and strange, fiery yellow—upon the water in 
the foreground; and to left of the light-path a waterman appears in 
the obscurity of the fog, standing in his boat and peering forward. 


Signed at the lower right, CLAuDE Monet, 1904. 
Prope of Mr. Arruvur B. Emmons, Newport, R. I. 


CLAUDE MONET | 


Frencu: 1840— he 


38—LES NYMPHEAS: PAYSAGE DEAU Vy 
L500 oy Height, 38614 inches; width, 35 inches dell Z a 


_ Parstep in 1907. In a pearl-gray stream, and amid soft grasses of 
rich and delicate green, lie circular patches of the beautiful aquatic 
plants, one of the several species of water-lilies, their numerous blos- 
soms of rose and scarlet and white, and of rich purple, lying upon 
spreading pads of their thick green leaves. Intermediately, mauve 
shadows vary and relieve the soft and delicate, and also the richer, 
colors, and blend the liquidity of the whole with the atmosphere and 
with the more solid properties of the environment. 


Signed at the lower right, CLAuDE Monet, 1907. 
Property of Mr. ArrHur B. Emmons, Newport, R. I. 


CLAUDE MONET 


KY Frencu: 1840— 
40-—VENISE: PALAIS DUCAL 


Height, 82 inches; length, 8914 inches | rh es 
F. /. OO 7 ug g Y > : : A 


PartnTEpD in 1908. The Ducal Palace has the composition substantiall¥ 
to itself, the Prigioni appearing as an incidental detail on the right, 
as the Palace is observed from the water off the Molo, with a part of 
the Palace’s nearer, Piazzetta side, coming into view. The palace mass 
is a soft old-rose and cream, aloft, the loggia and portico below appear- 
ing as series of greenish and bluish shadowed recesses, the arcade being 
illuminated at the ground level by golden flashes of sunlight. The sun- 
shine turns again to gold and rose on the broad bluish-green water- 
foreground, whose ruffled surface mirrors the palace reflection, beneath 
a pale blue, nebulous sky. | 


Signed at the lower right, CLAUDE NOSE 1908. 
fone, of Mr. ArrHur B. PONS Newport, R. I. 


eS eee 


RES tn 


guste Renoir from the Arthur B. Emmons collection stir 


The works of Pierre Au 
Above—“Canotiers a Chaton,” a Renoir, which brou 


the most spirited bidding. 


Photos by Murray Kendall Keves. courtesy American Art Association 


This wonderful example of the work of Giovanni Antonio Canaletto, en- 
titled “View on the Grand Canal, Venice” was knocked down for only $3,100. 
It came from the Thatcher B. Adams collection 


“La Seine a Argenteuil,” another picture by Renoir, was sold for $11,700. This was one of several : 
by the same master in the Emmons collection. 


Nicolas Maes was well 
Tepresented in the sale 
by this “Portrait of a 
Cavalier,” which was 
sold for $4,100. 


Highest priced picture of the sale: 
la Prairie,” by Renoir, sold for $28,000 to a pri- 
vate collector. 


From the Adams colleetion came this “Portrait of Sir 
Archibald Campbell, K. B., of Inverneil,” 


painted by George 
Romney and sold for $4,55 


The works of Pierre Auguste Renorr from the Arthur B. Emmons collection stirred 
the most spirited bidding. Above—“Canotiers. a Chaton,” a Renoir, which brought 


$27,000. , : 
‘ Photos hy Murray Kendall Keves, sourtesy American Art Association 


This wonderful example of the work of Giovanni Antonio Canaletto, en- t | ; age Highest priced picture of the sale: “Dans 
titled “View on the Grand Canal, Venice” was knocked down for Only $3,100. ie ig la Prairie,” by Renoir, sold for $28,000 to a pri- 
It came from the Thatcher B. Adams collection - al ree 7 vate collector. 

; © C7 


ns ete 
Nicolas Maes was well 
represented in the sale 
by this “Portrait of a 
Cavalier,” which _was 
sold for $4,100. 


_ © * ee 
,700. This was one of Several 


“La Seine a Argenteuil,” another picture by Renoir, was sold for $11 


by the same master in the Emmons collection. . 
: Archibald Campbell, K. B.,-of Inverneil,” painted by George 
Romney and sold for $4,550. 


From the Adams collection came this “Portrait of Sir 


CLAUDE MONET / 


iV ae 
Frexcx: 1840— \ ere 


NISE: PALAIS DUCAL, 
VU DE SAN GIORGIO 


Height, 251% inches; length, 8614 inches Wi Lytoe Liver 


PaintTED in 1908. Across water shimmering with soft color beyond a 
blue-shadowed foreground, the Palace of the Doges raises its full fagade 
in pale rose toward a humid, misty, greenish sky, the architectural de- 
tails being lost in the hazy atmosphere. At either side the Campanile — 
and the Prigioni and neighboring buildings appear, but appear still. 
further lost in chromatic atmospheric obscurity—the warmer colors 

_ embraced within an envelopment of violet; and all, with the sky, con- 
tribute with their subtle hues to the reflections playing upon the gently 
moving surface of the water. . 


Signed at the lower right, CLAuDE Monet, 1908. 
Property of Mr. ArrHur B. Emmons, Newport, R. I. 


CLAUDE MONET 
Frencu: 1840— af \ 


42-VENISE: LE PALAIS DARIO aes 


So oO Height, 26 inches; length, 82 meg . 


Parntep in 1908. In the foreground the blue water of the Grand 
Canal, its dapple surface turned gray and green with reflections of a 
gray-white, clouded sky and the swamp-green of vine-clad and mossy 
walls along the small off-shooting canal at one side. At centre and 
left, in the background, closing out the sky, two palaces, the central 
one of the title a creamy-gray, and its neighbor an old-rose, with win- 
dow recesses and loggia showing purplish shadows. At the door of the 
Dario a gondola. To right—across the small canal—the lower roof 
of the neighboring building yields above it a glimpse of the sky. 


Signed at the lower left, CLAaupE Monet, 1908. 
Property of Mr. Artuur B. Emmons, Newport, R. I. 


PIERRE AUGUSTE RENOIR ~ Bd 
| J yy 
FRENCH: 184119 7 


: vy 
43—ENVIRONS DE POURVILLE | iS | 
7700 - Height, 18 inches; length, 21%4 eee, | Z, a 


ParnTeEp in 1878. A landscape of the deep, rolling country behind the 
cliffs of the charming Channel resort, Pourville—where English, whether 
of Anglican or American accent, is in the summertime current with the 
native tongue. At the left, high, green-clad, rounding hills, their flanks 
sloping toward the right and forward, and their verdure thickening, and 
becoming denser, in the descent. In the middleground, near the foot 
of the slopes, cottages are almost buried within encompassing trees, and 
in the foreground the trees and shrubs and vines become a very tangle 
of luxuriant greenery. 


Signed at the lower left, Reno, 778. 
peasy of Mr. ARTHUR B. Emmons, Newport, R. 8 


/ igh 1 an), Lh . a, 1 ah 
/1.7004 Height, 2114 inches; length, 251% wy 


PIERRE AUGUSTE RENOIR : V 
Frencu: 184121919 ; 


44—LLA SEINE A ARGENTEUIL \ . 


PainTED in 1888. ‘Two young ladies out for a row on the river, in a 
boat painted a vivid red, are passing a landing stage which projects 
from the left foreground—a black poodle standing at the edge of it, 
tail erect. The young ladies are in bright summer attire; one wears 
a white hat, that of her companion is trimmed in scarlet. Beyond them 
a black sloop with yellow spars lies at anchor in mid-stream, and on 
the farther bank the red roofs and creamy-white walls of houses appear 
amid trees gala with foliage of garden coloring. The surface of the 
stream glistens in brilliant sunshine with polychromatic ripples upon a 
bed of rich, deep blue, and the herbage of the farther bank contributes 
further richness and variety to a color revel of effulgent atmospheric 
quality. 

Signed at the lower right, Renorr, 88. 


Property of Mr. Arruur B. Emmons, Newport, R. I. 


ag 


PIERRE AUGUSTE RENOIR (2 y 


Frencu: 1841—1919 


45—CANOTIERS SUR LA SEINE A BOUGIVAL 


PainTED in 1891. On the right in the middle distance a rude, informal 
fence of brown slats, characteristic of French countrysides, runs down 
transversely to the border of the river and comes to an end against a 
pollarded willow standing at the water’s edge. In front of the willow, 
seated in a heavy-ribbed brown rowboat lying against the deep, wild 
grasses and reeds—green, yellow, bluish and brown—in the foreground, 
a young woman turns her head from the spectator to look at other 
people who are boating on the river, at figures in an orange-red row- 
boat in mid-stream, paddling away through a cross-streak of pale gold 
illumining a ruffled water-surface of deep azure dappled in silvery- 
white. On the farther bank, in yellow-green grass between blue-green 
flags and green trees and distant blue forests, are to be seen a figure, 
and a creamy-gray country house with roof of red tiling. 


Signed at the lower right, Renorr. 
EGperey of Mr. ArrHur B. Emmons, Newport, R. I. 


X 


1000-7 Height, 21 inches; length, 251 nee Xe, L WA 


£ 


PIERRE AUGUSTE RENOIR’ | or ma 


Frencu: 1841—191 


16—DANS LA PRAIRIE\ Qy ik 
_ Height, 32 inches; dene 2534 inches 
4 $e00-, : Nucaud 


- Parntep in 1890. Two young girls in the heowae age, their hair hang- 


ing down their backs,—the tresses of one golden, those of her chum 
dark chestnut with golden lights—are seated on the soft and rich, 
varied and luxuriant herbage of a rolling meadow, in the foreground, 
facing a vista of upland country saturated with color and bucolic 


charm. She of the golden tresses is in white, with a blue sash, and is. 


seen profil perdu to the left, as she bunches some plucked daisies. Her 
companion, nearer the spectator, is in a rose-pink frock, and is seated 
with back to the observer. In the distance is a sheltered farmhouse, 
and two figures are seen nearer at hand, in the meadows. 


Signed at the lower one Reon 
Bieniee of Mr. Arruur B. Emmons, Newport, R. I. 


sigsemmnen ania 


op ae or renee pena 


4 foo Or Height, 821, inches; length, 8971/2 en | 


AUGUSTE RENOIRN 


| FRENCH: 1841—1919 (r 
47—CANOTIERS A CHATON \ 


PIER 


In the foreground the low, flat bank of the river, and standing there 
in the deep yellow-green grass and the deeper blue- -green flags of the 
water’s edge, two men and a young woman ready to go boating. — A 
third young man has just thrust the pointed prow of his long, slender, 
red skiff up among the reeds at the feet of the waiting trio, and rest- 
ing on his long oars turns his face toward the bank and toward the 
spectator. Out on the sparkling river, its rich azure silvered and 
whitened in the broad and lively ripples of a breezy summer day, other 
pleasure-seekers are exercising with the sculls, a working boat under 
sail heads away to the left, and beyond her is a large cargo barge with 
crew aboard, near the farther shore. Over there, creamy-white build- — 
ings wath red roofs enliven the sunny background. | a 


This is. probably one of Rengle s most important pictures; it was a favorite with 
the artist, and he parted with it only in omy, recent years. 


Signed at the lower right, Reson, 19 
Prope of Mr. Waitara B. pees. Newport, R. I. 


Ki Io “WORKS BY THE FRENCH MASTERS 
> HF “ON IMPRESSIONISM 


MONET, RENOIR, MANET, DEGAS, PISSARRO 
AND SISLEY 


The Property of MR. JOSEPH  F. FLANAGAN, of Boston, 
a Private Owner of New York, and from the Collection 
of the late HENRY SAYLES, fee a 


CLAUDE MONET wh 
Frencu: 1840— re 
b* f 


48—PRINTEMPS \r | 
2500 q Height, 26 inches; length, 321% inches 


Aw expression of the vernal season in terms of delicate color and the 
lines of grace, in an atmosphere balmy, fresh, and sweet with the re- 
newal of vegetation, the fragrance of new growths on trees and ground, 
all enriched by the energy and imparted vigor of a life-giving neighbor- 
ing stream. The stream crosses the foreground, which it supplies on 
the canvas, its surface dappled with soft lights from a morning sky 
and with the colors of the bank which its waters gently lap. The bank — 
is low and flat, as it traverses the picture, and is rich in lush grass green 
and deep, and at the water’s edge grow two pollarded trees, outposts 
of a grove of saplings which forms a screen across the middleground, 
the open spaces between the slender, grayish trunks revealing a green 
and brown hillside which encircles the composition in the background, 
topped by distant bluish woods. Aloft the saplings’ foliage and that 
of the pollards in front of them veil the sky, without excluding the 
delicate light of a slightly hazy day. 


Signed at the lower right, CLaupE Monet, ’86. 
Purchased direct from the artist in 1888. 2 
Property of a Private Owner. 


CLAUDE MONET - gy 

-FRrencu: 1840— : pag | 

49—BORDS DE LA SEINE A VERNOI N ‘yr Z 
£8007 Height, 231% inches; length, 32 inchs uF oe: ‘ 


Gauens in green, wild field, color in oad color on hillside and color in le 
sky and water—an atmosphere shimmering in color, which enfolds all — 
details of the composition. The sun is not visible, but his refracted 
light splits upon the autumn foliage of dense wildwood at right and left — 
of a sinuous river, marks blue daylight-shadows upon the slope of a_ 
, background hill, before which the chromatic woods project from cee 
side toward the stream, and makes the stream’s surface rich as its wood- _ 
land borders, with its lighter reaches more delicately tinted by the 
- faint ‘reflections of an iridescent sky. The plenitude of varying color | 
is relieved by the full, rich green of the low bank of the river occupying 
the left creeds 

7 Signed at the lower left, Cuavpe Mover. 


"Purchased from Messrs: Durand-Ruel. 


From the collection of the late Henry Sayurs, Boston. 


CLAUDE MONET 
Frencu: 1840—_ 


50--PEUPLIERS EN AUTOMNE A | GIVERNY jes 


Porxar trees, a bit of brush, a stream an the sky—and the cals of. 
a garden of brilliant flowers. The tall, slender poplars, with tufts of 
green and bluish foliage along their trunks, seem rather to flower than _ , 
to put forth leafage at their tops, where gold and rose and scarlet fi a a 
sparkle in the sunshine, relieved by green and blue against a sky of. 
mauve. At their foot the herbage is deep, with emerald tenes and blue a % 
shadows, and notes of purple, and trees and brush and their polychro- ‘a 
matic dress are repeated 1 in reflection in the river, which ee ay ss 
forground. . 


60004 Height, 391, Wl width, 25%) inches 


Signed at the lower right, Criven Moxey, ‘91. = 
Purchased from Messrs. Durand-Ruel. aa 


~ 


From the collection of the late Henry Sayuxs, Boston. 


PIERRE AUGUSTE RENOIR’ : sn 
Frencu> 18411949 


-51-FEMME ET ENFANT I oe 
Height, 28/4 inches; width, “le nt oa 


On a summer day brilliant with color, but with the He veiled and pee ie 3 2 

fused by a soft haze and a fleecy gray sky, a young French mother, — 

blue-eyed and very plump, is seen nursing her chubby baby under a 
large tree beside a cottage. She is seated in a house chair placed on_ 4 


the grass, and faces the left, with head turned toward the observer, and 


_ she wears a blue skirt and a loose orange coat, and a yellow straw ba . 
shaped hat. The child is in white, and with one hand grasps its small - 
iPr foot. On the ground in front, a egies amuses itself. 


Signed at the lower bets Reon, 86, . 
| Purchased from Me essrs. Durand-Ruel. | | es 


From the collection oF the late Henry Saytes, Dee ) 


PIERRE AUGUSTE RENOIR we ns 
FRENCH: 1841—1919 a“ eae 
52—JEUNE FEMME ASSISE 
[00 4 Height, 2514 inches; width, 21 inches 


A younc woman in whose red fee the sun’s radiance brings out golden 
lights is seen at full length, seated and facing the left, en déshabillé. 
Eneaged at some operation of the toilette, her head is inclined as she 
directs her attention to the work, held before her breast. The intimate 
garments of the boudoir, or the dressing-room of a stage, reveal arm > | 
and shoulder and a portion of her well modeled back nude, and her — y % 
limbs encased in rose, knees crossed and one foot resting on:a soft’ a 
canary-colored cushion. Neutral background of bluish and creamy- 
white wall and orange floor. 

Signed at the lower right, enor | 


Purchased from Messrs. Durand-Ruel. 


Property of Mr. Josrru F. Fuanacan, Boston. 


PIERRE AUGUSTE. RENOIR 


58—LES DEUX S@URS 5 
1000+ . ‘Height, 1814 unciea length, 24s ele eg 


_ Porrrarrs of two plump and rosy- -cheeked young ‘Preneh girls, happy 


and content, dressed for outdoors in the bland summertime and seen in " 
a subdued sunlight. One sister is observed head and shoulders, her face \ am 
in profile to the right and partly shadowed by the drooping rim of her 
scarlet-trimmed white lace hat. The mass of her golden hair, caught 
with a pink ribbon, falls back of her creamy waist which is adorned — 
with floral sprays. She looks toward her sister, who faces the spec- _ 
tator and is seen at half-length, in a maroon frock and wearing a | 


Leghorn hat enwound with mauve. Her abundant brown hair is decked 
with a rose. | rl , Nahe gy 
g Signed at the lower left, Renorr. 
Piiniad in 1894, . Gare 
Purchased from M essrs. Durand-Ruel. 


Property of Mr. Joseru F. Frianacan, Boston. 


/Frencu: 1841—1919 oF iw ee 


ae 


- an — a ee 


PIERRE AUGUSTE RENOIR 


Frenca: 1841—1919° aa 
54 FEMME A L’OMBRELLE 'N 


\ a 


b6hoo- 


Bust portrait of a young French woman with chestnut hair, and eyes 
that almost match it, who faces the spectator from a sunny back- 
ground of shrubbery, her eyes directed slightly downward and toward 
her left. She is bare-headed, and carries a small black parasol lined 
with white, which at the moment does not shelter her but rests, open, 
across her left shoulder, the hand holding it adorned with rings. She 
wears a light waist of creamy-white, vertically striped in delicate gray, 
open at the throat, with the back-folding collar tied with a rose-pink 
bow. } 

Signed at the lower right, Renorr, 773. 


Purchased from Messrs. Durand-Ruel. 


Property of Mr. Josery F. Fianacan, Boston. 


Height, 1814 inches; width, 15 inches fig. Iomteo 


. 


| as ALFRED SISLEY / 
Frencu: 1840—1899 | 


55—INONDATIONS A MORET po YA 
ae Height, 211, mches; length, 29 2 a. 4. te j 


(er Own the right in the foreground an earth road mounts a green bank a 


the edge of a blue river, and follows along the line of the stream ath 
a bend toward the left in the background, the course of the road taking 
it along the foot of a hill. Creamy and gray houses with red roofs line 
the water side of the road, in the middle distance, and others stand out 
from distant woods. The usually placid Loing has risen in a freshet, 
threatening to undermine buildings, near Sisley’s home town, and al- 
ready submerging the roots of trees which spread bare limbs before a 
windy blue sky swept by creamy-white clouds. 


Signed at the lower right, Stsury. 
pale 3%? | 


Property of Mr. Joseru F. Fianacan, Boston. |, ‘ X gt Na 
VAASN. 


Painted in 1878. 
Purchased from Messrs. Durand-Ruel. 


Mensa 


CAMILLE PISSARRO - 3 
"  Frencw: 1830—1908 s 


PONMIERS EN FLEURS: TEMPS GRIS lye AY 


F700 4 Height, 2334 inches; length, 29 inches iof U.K 
re ; 


On a gray, moist day of springtime an orchard of young apple trees 
is depicted, their branches burdened with abundance of blossoms and 
some of them leaning until they almost touch the deep, soft herbage 
of rich and fresh green which surrounds them. They stand in a val- 
} ley which occupies foreground and middle distance, and in the middle 
| distance displays a plowed field, while in the background are outlines 
| of a hill beneath the light grayish sky. Near the right foreground a 
| peasant woman, standing. 


Signed at the lower right, C. Pissarro, ’97. 
Purchased from Messrs. Durand-Ruel. 


Property of Mr. Joseru F. Fianacan, Boston. 


HILAIRE GERMAIN EDGAR — 


Frencu: 1834—1917 © 


57—FEMME SORTANT DU BAIN ; | ‘b Gs “ 


| OCP asteD) 
$700; - Height 2914 inches; length, 30 inches flue . oy 


A YOUNG ora rotund without pelne heavy is withdrawing from the 
bath and observed in rear and lateral view, one foot on the floor and 
body inclined so that the shoulder conceals her face, as she supports 
herself with one hand resting on a neighboring chair-back. The figure 
in its supple modeling and flesh tones varying with the light. is studied 
with attentive eloquence. Bluish’ and white draperies overhang the 
chair, a neighboring cushion is in golden amber ; variegated background. 


Done in 1890. 
Purchased from Messrs. Durand-Ruel. a a 
Or 


Property of Mr. Josery F. Fianacan, Boston. 


‘ 
e 


agi : 


HILAIRE GERMAIN EDGAR DEGAS: ; 


- Frencat: 1884—1917 ANN a 


/' 58 DANSEUSES ROSES 


\\ C Pastel ) 


S Be O01 °&Height, 331% cher width, 2314 Uses | a : 
CH = 


Four young women of the ballet in traditional costume are portrayed 
engaging in a group manceuvre, lightly stepping, moving away from the 
spectator and toward the left, all with hands raised high. The faces of 
the rear two are seen in profile. The lithe figures are full of Action 
while retaining assured poise. In the costumes. red: predominates, re- 
lieved by soft tones of gold, and the very light takes reddish a * 
strong. relief being furnished by a greenish drapery. 


3 sie! at De lower left Deas. 
Purchased from Messrs. Durand-Ruel. 


Property of Mr. Josepu F. Fianacan, Boston. 


/0000 - -_ . Height, 35 a length, 36Y%4 ey, 


CLAUDE MONET N 
Frencu: 1840— } 


59-MATINEE SUR LA SEINE 


Gretelete tre dense and tall, wilelt fp there upper branches ‘above 3 
the limits of the picture; high up, as they thin a little, glimpses of a a 
sky of deep azure are to be had through rifts in the leafage and in the 
banks of white morning clouds screening the blue. At the foot of. the aa 
trees the winding Seine, a mirror of the marvelous coloring which the ; i 
painter’s eye saw in the foliage, these deep notes of- purple, green and 

blue intensified by the white reflections of the clouds. On the be of 

the river the trees of the left are repeated in| the distance. | te. fs ; 


Signed at the lower left, Gate Moses, 1896, | 
, a 
Pipohnaea from Messrs. Durand-Ruel. : 


Property of Mr. Josery F. Franacan, Boston. 


2 a - ee 


os OT , SRE se ng et rca a RR SOO RTE 


seg AO HN ca ID INTE OE! ON LL AY NEE ELE E NET OER LLL OILE SN OM OO II ALLO IE I CECT 


! CLAUDE MONET | op A 
FRENCH: 1840— 7 Ve "? 


60—LA TAMISE A LONDRES: LES PONTS 
DE CHARING CROSS ET DE WESTMINSTE 


—@ 
at 


T0007 Height, 29 inches; length, 391% inches WM. Boo. _ 


Tue spectator looks up the Thames from a point in the stream below 
Charing Cross bridge, which spans the composition in the middle dis- 
tance, its shore ends not coming into view. Beyond it the arches of 
Westminster Bridge are descried in a murky distance, with the towers 
of the Parliament buildings discernible at the right, all but lost in 
grayish vagueness. Through the darkening haze or fog which over- ; 
lies the scene there radiates. by reflection from the river a lurid light, 
strange, and except close to the water absorbed in the foggy blanket. 
Within the range of its brighter Bh Es on the stream, river craft 
may be made out. 

Signed at the lower right, Cine Monet, 1904. 


Property of Mr. Josrepyu F. Fianacan, Boston. 


CLAUDE MONET | 
Ma 
‘Frencu: 1840— 


61—LA TAMISE 4 LONDRES: LE PONT V 
DE CHARING CROSS 


< $2001 Height, 25°24 wmches; length, 40 wnches C btinth, A Y, 


One of the artist’s English series in which the several bridges of Lon- 
don figure prominently, one and another of them luring him to spread 
upon canvas their fascination in the varying lights of London fogs. 
Here the Thames occupies all the foreground, one might say all the 
picture, scarcely the indication of a shore or buildings being made out 
at left and none elsewhere. In the middle distance the span of Charing 
Cross bridge in purple-gray silhouette makes a line of demarcation be- 
tween a ruffled river gleaming with sunset lights and an obscure sky dark 
with variants of mauve. Trains are crossing, and the smoke of their en- 
gines adds still other color to the atmospheric vapor. On the river 
three boats may be discerned. 


Signed at the lower right, CLauDE Monet, 1894. 


(bo Purchased from Messrs. Durand-Ruel. 


Property of Mr. Josepu F. Franacan, Boston. 


a ak eae ey oo Et RE 


4 
tend 


2 


CLAUDE MONET 
Frencu: 1840— { “ 


e 


ere ri af 


62—LES NYMPHEAS: PAYSAGE D’EAU 
\ 3 Ue O07 Height, 28% inches; length, 4134 inches J by Ki ,_ YOHCd 


\ Tue entire picture is given to a portion of the surface of a pond or ¥ 
stream, and in the background its green-bordered edge, the roots of : 
the dense grasses there limiting the composition, which is without di- 
rectly visible sky. Instead, the celestial blue is reflected in the water, 
: making there a cerulean ground whereon are reflected also the greens 
| of surrounding grasses and unseen foliage. The water and its reflec- 
tions are interrupted at intervals by pads of the beautiful aquatic . 
plants of the title, their pink, yellow and white blossoms lying upon 
leaves of pale green. 


Signed at the lower left, CLaupDE Monet, 1905, 
Purchased from Messrs. Durand-Ruel. 


Property of Mr. Joseru F. Fuanacan, Boston. 


Lea 


Frencu: 1840— Vg ge 


68— BOIS DOLIVIERS, BORDIGHERA 
”y) O00O-1 Height, 26 inches; length, 32 inches VAP fa 


LirERALLY a wood of olive trees, whose foliage reaches beyond all the 

confines of the picture, which shows no sky but only the mystic green 

: of the leafage penetrated by sunshine, the foil of the brown trunks sup- 
; porting it, and a foreground of earth made beautiful by a varied 
herbage and the eccentricity of the penetrating light falling upon it. 
The foreground is low and shelving, with a dip toward the right and an 

abrupt bank rising on the left, at the foot of which a broad path winds 

into the wood. On the earth the play of light is warm and brilliant, 

within the ever-varying foliage cool and warming by turns, in a fasci- 

nating variance. | 

Signed at the lower right, CLaupE Monet, 84. 


| | Purchased from Messrs. Durand-Ruel. 


: Property of Mr. Josepu F, Fuanacan, Boston. 


Frencu: 1882—1883 


SDOUARD MANET Zz Cie 
\{ ry, 


E DECOLLETEE 


(PORTRAIT DE MME. D PATY 
AKSOO at | (Pastel) 


ot \ et] Height, 22 inches; width, 1314 inches Nit tt, Abecers igen 


Busr portrait of a woman young yet mature, figure to the front and 
Nae head turned slightly toward her left, in which direction her dark 
ae hazel eyes are bent, her features expressing nervous vivacity, the 
‘expression of her eyes contemplative. Her dark hair, loosely done, 
falls well over her forehead. One side of her face is within a clear, 
transparent shadow, the other in a high light which is shared by her 
breast. Grayish bodice, edged and supported over the shoulders in 
~ floral notes. 
Signed at the lower right, MANET. 


Purchased from Messrs. Durand-Ruel. 


Property of Mr. JosEPH F. Franacan, Boston. 


‘DOUARD MANET 
Frencu: 1832—1883 © 


65—DEVANT LA PSYCHE s 
Vd. KOO-+1 Hagia: 361% inches; width, 22 imches ha Va a 


_ 'THREE-QUARTER length figure of a lady standing before a aretha mir- 
ror and observed in back view. Her yellow-blond hair is wound about 
her head, which her height causes to appear just below the arched top 
of the mirror, which is framed in mahogany with ormolu mounts. The 
creamy flesh of arms and shoulders appears above a pale blue corset, 
which overlies a white underskirt, and the figure is seen in a strong” yet 
soft light. Background a studied confusion of rich coloring, 
When the canvas was purchased by the present owner from the Messrs. Durand- 
Ruel, New York, the American Art News in noting the purchase said: “The picture 
was painted in 1877, about the same time that Manet painted ‘Nana’, the heroine of 
Emile Zola’s novel. The work is similar in composition, although the ‘Girl before the 
Mirror’ is superior in color. The ‘Nana’ is in the Brussels Museum. ‘Devant la 


Beye was originally in a noted collection in Paris, and has been exhibited in that 
city.” 


Signed at the lower right! Manet. 


_ Property of Mr. Josepu F. Fuanacan, Boston. 


# ¥DOUARD MANET ei wh 
Frencu: 1832—1883 \ ee) 


66—PORTRAIT DHOMME (“L-HOMME BLON D”) 
( Pastel) 


/b007 Height, 2134 inches; width, 1334 inches hw oe yf C 7 


Heap and shoulders portrait of a youngish man with a somewhat 
marked pursing of the mouth and rather retreating chin, looking to- 
ward the left, his face seen a little more than in profile. He is of the 
blond type, with pink cheeks and blue eyes, and light sandy-brown hair 
which is matched by a beard of which he makes the most and a moustache 
fully encouraged. He wears a black coat and a broad, loosely tied blue- 
black cravat. Gray background. 

Stgned at the lower right, Manet. | 


Purchased from Messrs. Durand-Ruel. 


Property of Mr. Josery F. Fuanacan, Boston. 


PAINTINGS BY MODERN FRENCH, DUTCH, ENGLISH 
AND AMERICAN ARTISTS 


HENRI HARPIGNIES 
Frencu: 1819—1916 


67—BOAT, STREAM AND SHORE 


ane Height, 12 inches; length, 17% inches ett, yo : 


A ¥FLAT-BoaT with two deck-houses is moored, in the middle distance, 
beside a yellow-gray shore, which broadly fills the foreground and 
glistens in the sunshine of an all but cloudless day. 'The blue river in 
which she lies courses between this barren reach of rough foreground 
and a kindly farther shore, whose varied banks are green and wooded; 
they show, too, the abodes of industry. 


Signed at the lower left, H. Harvicenises, 792. 
From the collection of the late H. B. Dicx, New York. 


a 


IS 


Pa ; 

a : THEOPHILE DE BOCK 

] / DutcH: 1850—1904 

| a 68—POOL AND DISTANT CHURCH , 
ba : ( Panel) 

pa 


Height, 1034 mches; length, 2114 mches Ohbeeuch, ti leper 


ey us 
: 
x = 


rp GREEN 
. 


MarsHuanp waters of the foreground are rich with reflections of their 
bordering bank, crossing low in the middle distance, its colors con- 
trasting with the light reflections of a clouded sky. The bank is green 
and brown, and at the left is the edge of a low and dense grove, beyond 
zs which in the distance a church raises its steeple above a low, confused 
landscape. On the back an inscription in Dutch, in calligraphic let-— 
tering, dated =v. 3, 1896. 


| ; | From the es of the late H. B. Dick, New York. 
* W722 - Uncteh, fore 4. fh. brill, be 908 ~ 
oF SOLA ~ Mee! 17.3.5 BAXKK 

ag ; FREDERICK “ys WILEY 


AMERICAN: CONTEMPORARY z 


a -69—LANDSCAPE WITH FIGURES 


| ~ by 5D 2 Height, 17 mches; length, 21 wches Ho ‘ thibud 


_ Ar right in the foreground a single detached tree stands brown against 
a turquoise sky which is heavily banked with white, creamy and gray- 
ish clouds. At the tree’s foot, red-brown shrubbery raises its entangle- 
ments above the coarse green herbage surrounding a white pool, at the 
left of which stand two trees. Near them two figures are seen. Beyond 
a middle-distance of velvet verdure, a cluster of farm buildings about a 
brown-roofed house. 


Signed at the lower right, WiLEy. é 


From the collection of the late H. B. Dicx, New York. 


JEAN JACQUES HENNER 
Frencu: 1829—1905 


70—TETE DE FEMME 
JAFO ra Height, 22 inches; width, 15 mches Aotlaud baller " a 


Busr portrait of a Magdalen creamy-white of skin, with the painted 
touch of color in her cheeks, with rich lips and deep hazel eyes, and 
blond hair variable in key according to the light and deepening to a 
mahogany-red. She faces the spectator squarely, with the slightest 
turn of figure towards the left, but with head slightly inclined, and 
thoughtful gaze directed soberly downward. ‘The light is full on her 
face and breast and her blue décolleté waist, and plays upon the edges ; 
of her loosely flowing hair, which is brought forward over her shoulders 
out of the dark neutral background. : 


Signed midway at the left, J. J. HENNER. 


Property of Mrs. Anna J. SCHOELKOPF. 


ae 


\O JEAN GUSTAVE JACQUET 
Frencu: 1846—1909 


71_THH AMATEUR ARTIST 
tC J/O-7 Height, 29 inches; width, 23 inches hil faurndl- 


A wavy of rotund features and full, liquid eyes, with a pink flower 
tucked into her golden-brown hair, is seated in a high-backed chair up- 
holstered in red and ornately decorated, beside a pedestal on which 
stands a many-colored vase. She faces the spectator, her chair drawn 
up to a red-covered table, and turns her head to look off toward her 
left, while she holds open a sketching book in which two heads appear 
and poises her pencil in her right hand. She wears a blue décolleté 
waist and golden-yellow girdle, and a fur-trimmed jacket. 


Signed at the lower left, G. JACQUET. 
Property of a Private Owner. 


We 


GEORGES MICHEL 
Frencu: 1763—1843 


7 2—LA NDSCAPE 


BaP Height, Lie chess length, 2394, chen Ab heli. 


On a low frownd near the one of the composition, lok antl crooked 
trees with dense foliage stand out against a gray-white sky, and curv- 
_ ing around the mound a yellow-sandy field roads cuts it off from slightly 
higher land on the right, where woods enclose a thatched cottage. In 
the right qeroung the felled trunk of an aged birch comes into view. 


Exhibited at the Boston Museum sor Fane Abe 


From the collection of the late Henry SayLEs, Boston. 


& STRICTED PUBLIC SALE 


AN pee 15th: er eZ 


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c \ GILBERT MUNGER 
\S AMERICAN: 1837—19038 


73—ON THE SEINE 


At O74 Height, 1734 inches; length, 254, inches a y 


A COMPREHENSIVE landscape at once pastoral and sylvan, in’ sunshine 
and shadow, with nature encompassing the abodes of men, man in pur- 
suit of the occupation of his. existence, and animals thus support man. 
The Seine, silvery in summer sunlight winds between shores of fields and 
woods, passes a hamlet of white walls and brown-thatch roofs on the 
left, and in the distance passes under the several arches of a white 
masonry bridge. In the cool shade of the foreground a cowherd rests 
against a tree, watching two cattle moving toward the river, and out in 
the stream a fisherman is busy in his punt. 


Signed at the lower left, GiLBERT MuNGER. 


Property of a Private Collector. 


WILLEM ROELOFS 


DutcH: 1822—1897 
74A—LANDSCAPE AND CATTLE 
y, 1S 4 
From the foreground a shallow stream or inlet indents green meadows 
with marshy borders, the water surface a soft white with reflections 
of a white and gray clouded sky, and at one edge of the stream lies 
a flat-bottomed boat. Straight ahead in the middle distance a large 
farmhouse with red-tiled roof lies beyond a hedge and within the pro- 
tection of flourishing trees. To right are cows, with more of them 
seen in farther fields, and in the hazy distance are towers of a Dutch 


city. 
Signed at the lower right, W. Rortors. 


By order of the Executors of the late THarcHrer M. Apams, New York. 


Height, 174% wmches; length, 264 inches tuiey Ill 


JULES DIDIER 
Frencu: 1831— 


75—LANDSCAPE AND CATTLE: 
ROMAN CAMPAGNA 


LO af Height, 18%4 inches; length, 27734 inches He CLL 


Fiexps of wild land, green, yellowish and brown, lie in a broad cloud 
: shadow in the foreground, while distant fields appear golden in sunshine 
~ in a valley bounded by hazy mountains. On a mound of the nearer 
: middle distance are two gray cattle, and in the foreground a bird of 
prey has just pounced upon a hare. 


Signed at the lower left, Jutes Divrer. 


From the collection of the late Henry Sayurss, Boston. 


HRISTOFFEL BISSCHOP 
ie Dutcu: 1828—1904 
KC 76—SAVING GRACE 


vA S0 Height, 2134 inches; length, 27 inches he fe g “fe f 


In a household of piety an aged woman in black, seated aWa frugal 
table, clasps her hands in prayer, and a younger woman facing her 
pauses in her bread-cutting, lowering her eyelids. She is in quiet 
colors, and a close white lace cap enfolds her light hair; at her feet 1s 
a cradle. From a window at the left a filtered light warms the soft 
colors of the room. 


Signed at the lower right, C. BisscHopr. 


From the collection of the late Henry Sayuxs, Boston. 


CHARLES CARYL COLEMAN, A.N.A. 
AMERICAN: 1840— 


77—STUDIO INTERIOR: STILL LIFE 
me ie Height, 21 mches; length, 314 inches bobs BK 


Gray studio walls at either side embrace a broad window recess the 
window woodwork dark brown, and through the many panes the eye 
sees white and creamy clouds overspreading an azure sky. On the 
window ledge and on a table before it are vases and musical instru- 
ments,’and whole branches of brilliant blossoms from the vases extend 
over the entire span of the window embrasure. At right the figure of a 
young woman holding a ewer, posed in:garments of soft rose and blue. 


Signed at the lower right, C C C (in monogram), Srupto, Capri, 1897. 


From the collection of the late Henry Sayuezs, Boston. - 


= AN dei DeehBin 7 ae Ee _— es 


. ae 
LP GUSTAVE LOIshs a 


: Frencu: ConTEMPORARY 
\  '78-LES BORDS DE L’EURE: LE MATIN 
; — LOO 1 Height, 26 inches; length, 82 wmches yi) A VID a 


A sort morning light illumines a sylvan landscape which is itself soft- 
ened by a placidly winding stream, a faint auroral pink still lingers in 
and colors softly a pale robin’s-egg sky. The air vibrates gently with 
delicate color, intercepted by darkening shadows. ‘The river enters 
the picture at the left and passes out in the foreground, winding about 
a small, low, grassy point. ‘The rounded elbow of its farther bank is 
massed with trees, the foliage of those towards the left light green in 
the sunlight, while in those towards the right the leafage shares the 
light with variable shadows. Notes of color spring from the under- 
brush and shrubbery, and add their variations to the reflections on the 


water. 


Signed at the lower left, G. Lotsrav, with a date not readily 
decipherable (19097). 


Property of a Private Collector. 


= JULES WORMS 
Frencu: 1832—1881 


a ron ads} 
1} 79-SPANISH DANCERS 


Height, 23 inches; length, 31 inch -, 
JOC 2 eg inches; leng inches 4. dt 


A MERRY company, male and female, are gathered in a Spanish court- 
yard, and are entertaining themselves with music and dancing and song. 
In the background the gray wall of an inn, with projecting wooden 
balcony and an arched doorway, and on the right a mass of creeping 
and depending greenery, of vines in blossom. On a table in front of 
these, with the sunlight falling upon her, a short-skirted girl in blue 
dances lightly, while her comrades in costumes of varying color, crowd- 
ing in doorway and against the wall and on the ground, seated and 
standing, help joy along by smile or song or castanets, or by the music 
of tambourine, mandolin or guitar. 


Signed at the lower right, J. Worms. 


From the late Henry Hilton Sale, 1900. KiKi. BHi00 7 teagh f Jtank 


Property of a Private Owner. 


MAXIME MAUFRA 
~Frencu: 1861—1918 | 


In 1895 he was made a chevalier de la légion Whonneur. His 
work is represented in the Luxembourg, Musée de la Ville “f 


Paris, Nantes and Rheims, Manchester (England), Chicago Art 


Institute and numerous private collections. \ 


80—COIN DE PLAGE: BELLE-ILE EN MER ‘ | 
LES ROCHERS DES KORIGANS, DINAN | 


L004 Height, 26 inches; length, 32 inches O. husth, a 


On the left massive rocks project into a greenish-turquoise sea whose 
ruffled surface laps their base gently. Their sides respond to the action 
of the elements in velvety tones of soft and varied color, and as they 
approach the foreground rise in abrupt walls above the picture limits; 
here and there on the steep walls bits of green vegetation have taken 
hold. In the foreground the green wavelets break on a beach of warm 
yellow sand, and in the distance the sea loses itself in violet-gray to 
meet a clouded horizon, above which is a tint of rose. 


Signed at the lower right, Maurra, 1905. 
Property of a Private Collector. 


J. FOXCROFT COLE 
AMERICAN: 183'77—1892 


81—_VENICE (After Ziem) 
ISO 4 Height, 244% wmches; length, 3614 inches 


ae 


A copy of a Ziem composition in which sailboats with canvas of mellow 
colors lie at right and left in the foreground, with the city spread out 
beyond them, the Ducal Palace and the Campanile seen in the central 
distance, the domes of the Salute far away at the left. Aboard the 
boats are figures in colorful costume, and nets are hauled up for drying. 


Signed on the back, J. Coin. 


From the collection of the late Henry SAYLEs, Boston. 


J 
Se 


YN 


; GILBERT MUNGER 
AMERICAN: 1837—1903 


82—THE TWO BROTHERS: 
FOREST OF FONTAINEBLEAU 
4107 


Height, 24 inches; length, 3314 GAY 5 Z y) (GY 


Cuose in the foreground and standing at right and left of a shallow | 
brooklet are two sturdy trees of similar proportions, except that the 
one on the left projects some bare and blighted limbs skyward, while 
all the branches of the other have their full of foliage. The trees stand 
in a cloud shadow, their autumn leafage dark toward the spectator 
against a creamy and hazy sky, which meets a flat horizon far away. 
A mild autumn haze overhangs all the broad intervening fields of the 
great Barbizon plain, distant village buildings and trees are seen here 
and there, and occasional cattle, and in the middle distance stands a 
white cottage, while before it a farmer and his dog are crossing the 
brook. 


Signed at the lower left, GiLnERT MuNGER. 


Property of a Private Collector. 


yo S) THOMAS MORAN, N.A. 


AMERICAN: 18387— 


838—VENICE 
L004 Height, 22 inches; length, 37 inches Mb Adddbier 


In the distance on the right the Doge’s Palace and the Campanile, and 
opposite, the domes of the Salute, with a sunset sky beyond and the 
buildings largely in shadow. In the Laguna, in the central foreground 
a gondola crossing toward the right, and back of it a large number of 
boats closely bunched, their sails a rich mass of color. Above them the 


pale new moon. 


Signed at the lower right, T M (in monogram, with a device). 


By order of the Executors of the late TuHarcuer M. Apams, New York. 


EUGENE VERBOECKHOVEN 
Bewician: 1799—1881 — 


84—_THE DEAD LAMB 


Ge Height, 35 wmches; ‘width, 31 inches 1» XAlagman 


In a BaGintancus country, with high rounded Les)! in the background 

on the right, and lowering clouds over and beyond them, a horned sheep 

is depicted in the rocky foreground, standing over the body of a dead 
lamb. The sheep raises its head, and with mouth open is bleating sky- 

ward. With background dark and middleground in a gloaming light, 

a ray of sunshine falls upon sheep and lamb. 


Signed at the lower right, EvcENE VERBOECKHOVEN, 1875. 
Purchased by the late owner direct from the artist. 


By order of the Executors of the late THatcurer M. Apams, New York. 


JULES HEREAU 
Frencu: 1880—1879 


85—_FARM WORKERS RESTING : , 0 4 
130 i Height, 2624 inches; length, 364 inches 0. eS: LAMAN 
Frencu fields in summer sunshine reach back to the distance, cut along 
the right by a line of trees which bends into the foreground and throws 
it into shadow. Here in the cooling shade a shepherdess sits at the 
foot of a tree, her flock gathered about her, and a. farmer sits on the 
grass chatting with her, his team also sharing in the shade and one of 
the horses nibbling at a branch of the tree. To right, haystacks and 
the outskirts of a hamlet. 
Signed at the lower right, JuLEs HEREAUv, 66. 
Exhibited at the Boston Museum of Fme Arts. 


From the collection of the late Henry Sayues, Boston. 


GILBERT MUNGER 
AMERICAN: 1837—19038 


86—_WOODS AT CHEVY CHASE, 
WASHINGTON, D. C. 
Sbor7 


wus 0 
Height, 26 mches; length, 3614 inches Mp. LY, 4 

Vi, 
On the right, crowning a hillside which slopes leftward and toward the 
foreground, dense trees at the corner of a wood raise rounded tops of 
deep green leafage toward a blue sky laden with gray clouds. ‘Tops 
catch the sunshine, which spots the grassy foreground in front of shad- 
ows of the lower, nearer trees. Here two figures are standing, and in 
the lower foreground the edge of a pool comes into view. At left, dis- 
tant rolling hills in sunshine. 


Signed at the lower left, GirBERT MunceER. 


Property of a Private Collector. 


L. LEE ROBBINS 


CONTEMPORARY 
87—_PORTRAIT OF A LADY 


VL ad Height, 434 inches; width, 25 eee fA Ma 


‘THREE-QUARTER length standing figure of a blue-eyed young lady with 
Titian hair, facing the front, turned slightly toward the left. She 
wears an enormous black hat, with widely flaring and turned back 
rim, fluted and irregular of outline, and a long black cape clasped over 
a décolleté waist, with a pink rose at the corsage. Below, her skirt 
of rich blue comes to view, and in her ungloved hand she carries a book. 


Signed at the upper right, L. Ler-Roxgsrys, 1894. 


By order of the Executors of the late THatcHER M. Apams, New York. 


JOSEPH AMES, N.A. 
AMERICAN: 1816—1872 


88—_THE MARSHES 
170 “ Height, 2814 inches; length, 44 inches tb, berle 


SuUNsHINE and low drifting masses of thin gray cloud vapor give a 
broadly mottled effect to the flat surface of expansive lowlands, which 
reach to a far horizon, bordered in the distant right by low dark green 
woods. Meadows and marsh lands and a plowed field are golden, green 
and brown, cows are here and there, and at right a farmhouse nestles 


among trees. 
Signed at the lower right, J. Ames, 1869. 


- From the collection of the late Henry Sayuxs, Boston. 


FRITS THAULOW 
Norwecian: 1847—1906 


89 LA SEINE EN NOVEMBRE 


Lh Height, 29 inches; length, 46 inches able 


A Broan view of the river with its swirls and eddies carefully studied, 
in the gray afternoon of a hazy fall day. Green and white and with 
sundry varied hues, the water fills more than two-thirds of the picture. 
In the background city buildings come to view in the haze, and lights 
appear in them and along the quays—along one of which are seen trees 
in autumn foliage—and the lights continue across a bridge which spans 
the middle distance. In the foreground a river steamer filled with 


people. 


Signed at the lower left, Frirs THautow, 92. Signed also 
with date and title on stretcher. 


From the collection of the late Henry Sayuss, Boston. 


FREDERICK J. WILEY 


AMERICAN: CONTEMPORARY 


90—WOODLAND LANDSCAPE: 
SUNSHINE AND SHADOW 


if 70 q ‘ : 
Height, 30 inches; length, 40 inches tat Ipclecr 


SUNSHINE and shade, woodland and clearing, in the deep coloring and 
the brilliance of autumn. Woods are at either side of the picture, deep 
green at left, lightened on the right, and within the shadowed foreground 
of lush herbage and brown lies a dark pool with a single light reflection. 

- At either side in front of the woods are tall detached oaks with leafage 
brown and yellow. In the central distance, more trees in golden sun- 
shine, and a figure where shade and sunlight meet. 


Signed at the lower right, WiLEy. 
From the collection of the late H. B. Dicx, New York. 


SECOND EVENING’S SALE 
ete PANUARY 15, 1920 


IN THE GRAND BALLROOM 
OF THE PLAZA 


BEGINNING PROMPTLY AT 8.15 O'CLOCK 


ALEXANDRE GABRIEL DECAMPS 
Frencu: 18038—1860 


91-_THE HUNTER 
FS (Gouache Drawing) K Maaguean 


Height, 74% inches; width, 5 imches 


A nunTER homeward bound is portrayed in a wild country, toward 
evening. He comes forward at a swinging gait, his two dogs in leash 
trotting at his side, gun slung within his elbow, an intent expression 
on his rugged features. Done in black crayon, with fixative, on a 
sepia ground, and with touches of white. <A vivid bit of action and 
characterization. 3 


Signed at the lower right, D C. 


From the collection of the late Henry Sayuxs, Boston. 


ANTOINE LOUIS BARYE 
Frencu: 1795—1875 


92 THE LIONESS’S VICTIM 


(Drawing) g 
Uh = ; Ve i Mt Nuocll’ 2 Le 
Height, 73% inches; length, 10% wmches : ; 


A LionEss crouched upon the ground, head raised and eyes blazing with 
gloating ferocity, has thrown both forepaws over the body of a bearded 
man she has struck down, and tears his breast with her claws. He is 
turbaned and wears baggy knee breeches, and a sandal lies at his bared 
feet. In brown on a yellowish-gray ground. 


From the collection of the late Henry Say es, Boston. 


JEAN FRANCOIS MILLET 
Frencu: 1814—1875 


983—BLIND TOBIAS 


(Two Charcoal Drawings of the Famous Work in Oil 
Now in the Widener Collection) 


AY Mnoclla ty 
Ks fi Height, 714 mches; length, 9 ches Ma : ‘ it 


Two studies on opposite faces of the same sheet of paper, the arrange- 
ment and details differing. On one face, a groping and bent figure 
moves away from the observer, and back of him against a building at ~ 
the right are two nude figures, with hands raised and reaching out. On 
this, touches of yellow crayon brighten the sky. On the reverse the 
bent figure appears in profile, and the figure of a tall man, clothed, 
emerges from the doorway of the building, aided by a staff. 


Both signed at the lower left, J. F. M. 


From the collection of the late Henry Says, Boston. 


THOMAS COUTURE 
Frencu: 1815—1879 


94—PORTRAIT OF A MAN 
L041 (Crayon Drawing) 


Height, 1414 inches; width, 1134 inches Cte b 


Har-Leneru portrait of a scholarly man in high-collared robe and 
white scarf, seated ata table, writing. He faces the left, three-quarters 
front, and looks over his spectacles in deep and penetrating thought. 


From the collection of the late Henry Sayues, Boston. 


JOHANN GEORG MEYER VON BREMEN 
GERMAN: 1813—1886 


95—BLINDMAN’S BUFF 


| (Water Color) 
y G On 


Height, 7 inches; width, 5 inches hh 4h. deaman, 4 . 


FuLui-Lenetu figure of a lively, bare-footed urchin, who has been blind- 

folded with a red kerchief, and as he steps forward raises the bandage 

from his keen eyes and peers under his hand alertly to his left. In his 

right hand he holds a small bare branch of a bush or tree. His unbut- 

- toned coat of old-red shows an open white shirt, and his patched breeches 
are grayish. 

Signed at the lower right, MEYER voN BREMEN. 


Property of Mrs. E. W. Bass, New York. 


WINSLOW HOMER, N.A. } 
Pen aren 18386—1910 


96—GIRL IN GARDEN Ss. 
(Water Color) 


9 
Kho es Height, 64% inches; length, 81% inches Ch buep, 


A sTonE retaining wall, soft gray in tone, crosses the picture, and before 
it a young girl in pink, wearing a sun bonnet, is seen in profile to the 
left, observed at half-length, with one hand reaching toward the top of 
the wall. In front of her are the tops of green plants, and above the 
wall the green bank blossoms with roses beneath a fair sky. 


Signed at the lower left, Homer, 1878. 


From the collection of the late Henry Sayurs, Boston. 


JEAN BAPTISTE EDOUARD DETAILLE 
Frencu: 1848—1912 


97—PRUSSIAN SOLDIERS 
Ve, (Water Color) 
Ny dad ts 


Height, 121% inches; width, 9 inches Kt. loth Mbbe 


Two Prussian soldiers in spiked helmets and great overcoats, carrying 
rifles and knapsacks, one wearing spectacles and one smoking a huge 
pipe, stand in the foreground facing the spectator, and looking at some- 
thing far away at which he of the glasses is pointing a finger. Beyond 
the field in which they stand, a road traverses the landscape, between 
low hills, and in it an army train is moving away toward the distance. 


Signed at the lower right, Enouarp Drraitye, 1871. 
From the Whitney Collection, New York, 1885; No. 169. Me pecediin ae be 
Property of Mrs. E. W. Bass, New York. | 


DAVID YOUNG CAMERON 
Bririsu: 1865— 


98—_STUDY OF MOUNTAINS 


Panel) 
HOO 7 : 
Height, 61 inches; length, 93 inches 0. truth, tigen. 


Mountains brown and purple in a long and relatively low range, extend- 
ing across the picture, are viewed darkly against a sky of waning light. 
In front of them a broad valley shows cultivated fields whose yellow 
surfaces are still warm in the lingering afternoon light. 


Signed at the lower left, D. Y. CAMERON. 
From the collection of the late H. B. Dicx, New York. 


HENRI FANTIN-LATOUR : 
Frencu: 1836—1904 a 


99—PASTORAL: A SKETCH 
Le 007 Height, 714, inches; length, 91% inches Whe Hbealy 


Aw idyllic scene in the open country in the season of warmth. At left 
a short, bushy tree, and at its foot a young woman reclining in abandon 
on the soft green carpet of the earth, her head upon the breast of a 
protecting figure seated beyond her. At right a dancing nymph dis- 
pensing with her pink and golden and gauzy draperies, a sister in dark 
garb raising a tambourine, and on the ground between them a young 
female figure in crimson. 


Endorsed by the artist’s widow : “Cette esquisse de Fantin a 
été donnée par lui au peintre Régamey. V. Fantin- 
Latour.” 


From the collection of the late H. B. Dicx, New York. 


THEOPHILE DE BOCK 
DutcH: 1850—1904 


100 LANDSCAPE WITH POOL 
| (Panel) 


NOOO Height, 93/4, wmches; length, 1444 inches 4A Vbcaly ? 


On the right a brown hill with struggling vegetation, sloping to mead- 
ows which on the left reach to a low horizon; hill and meadows under a 
light sky of drifting and heavily rolling clouds. In the foreground, at 
the foot of the hill and before the meadows, trees and a lazy stream, 
grass and yellow wild-flowers, and green bush, and on the farther side 
of the water a peasant woman in blue with a white cap, standing beside 
a red cow. 


%. 


Signed at the lower right, 'TH. DE Bocx, ’90. 
From the collection of the late H. B. Dick, New York. 


ALBERTO PASINI 


IrauiaAn: 1826—1899 
} 


J 101I—MOORS AT ENTRANCE OF MOSQUE 
. WUh 7 Height, 916 inches; length, 15%4 inches Sul, 


A cREAMY and gray masonry wall crosses the picture, pierced by grated 
windows nearby, and on the farther side of a central gate exhibiting 
blind window casings. Over the top of the wall project the green o 
branches of trees which in the grounds within the wall closely surround 
a group of Moorish buildings. These are gray and yellow, and touched 

with rose and blue, and with the white of brilliant sunlight on the roofs, ; 
under a rich turquoise sky. Before the wall are many figures, men and 7 
women in brilliant colors, and horses and dogs. Some of the people are 
entering the gate; some are merchandizing. 


Signed at the lower right, A. Pastn1. 
From the collection of the late H. B. Dicx, New York. 
10519, Brighh  fbgueercl Jalen» tp Gane 1904-1 Fee DUXX - q 
Jota. fan tgas ds Saaae Lg BAISx z Meliwwcd Up 
Cc. ; cheaney, = 
Yihen 1 toad, und Yo 10 7/2. Gaufasx ere %; < : 
SIONS. Ben gth Veet Jans 906 , 


Lota. A605, Deh Inaeck £6fi309, BAISXs 


JEAN FAUVELET 
Frencu: 1819— 


—102—A GAME OF CARDS 
J/007 Height, 634 inches; length, 8g inches VN he 


Two men, one in red coat and black breeches and the other clad in 
brown, are engaged at cards at a green-covered table, a third figure in 
light apparel looking on. The room is dim, with light from a leaded 
glass window on the left. 


From the collection of the late Henry Sayuxs, Boston, 


ote we rt 


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4 


ADOLF SCHREYER > a 
GERMAN: 1828—i1899 \ : 


1083—W ALLACHIAN POST STATION 


(Panel) > J, / 
/KOO 7 Height, 81/, inches; width, 61/4 inches A A 


Tue corner of a rude but firmly built rustic cabin with thatch roof pro- 
jects from the right, receding to a fence which encloses its door-yard. 
Snow clings to the roof, and covering the ground blows toward the foot 
of a single, solid wooden door which is closed. A lone horseman, swarthy 
of hue and heavily clad, mounted on a short sorrel stallion, has ridden 
to the door and raps on it with the butt of his whip. 


Signed at the lower right, Av. ScHREYER. 


Purchased from the late William Schaus. 


From the Mary J. Morgan Collection, New York, 1866; No. 60. BIIS04 
Property of Mrs. E. W. Bass, New York. 


LUDWIG KNAUS \/ 
GERMAN: 1829—1910 


10A—THE CITY GIRL 
/ ISO 1 (Panel ) Step Ft. 


“Height, 10 inches; width, 71% inches 


Bust portrait of an affable young lady of full development, figure 
slightly to the right and face turned toward the left, observed in a soft 
and diffused light before a neutral olive background. Her light chest- 
nut hair is fluffy in front, and wound in a braid over the back of her 
head. Her cheeks are rosy, and their dimples and the Cupid-bow lips 
and blue eyes present a gracious smile. Plum-colored décolletté waist in 
flowered pattern, with corsage edged in white. 


Signed at the upper right, L. Knaus, ’77. 
Painted to order for the late Samuel P. Avery of New York. 
From the Whitney Collection, New York, 1885; No. 212. Yo few 1“ OF 
Property of Mrs. E. W. Bass, New York. Catalogue 


ttn OUAS 


‘ ‘ 


ADOLPHE MONTICELLI 
Frencu: 1824—1886 


105—DANS LE JARDIN : 
P 1 
WEA ae 


Height, 884 mches; width, 584 ma 


In a clear and sunny spot in a great park, four ladies are assembled in 
afternoon conversation, casually engaged, and are observed against a 
background of brownish woods; glimpses of a blue sky are obtained 
above sturdy branches and through clefts in the dense foliage. Of the ‘ 
ladies, who are all standing, two face the observer, their features appear- 
ing in sunshine and dappled with shadows, one lady is seen in profile to 

the left and one in rear view. Their costumes are scarlet and gold, with 

a foil of dark neutral tones. Beside the group, at right, is an urn of 

blossoming flowers. (On the back of the panel is a lively sketch of sev- 
eral figures, by the same artist.) 


a a ee 


thei ae 


Signed at the lower right, MontTICcEL4.. — 


From the collection of the late H. B. Dicx, New York. 


WILLIAM MORRIS HUNT 
AMERICAN: 1824-1879 


106—OUT IN THE COLD 


Hh b O77 Height, 121% mches; length, 1414 inches ik boo feu/ 


A LIGHT snow covers a sloping field, with the green suggestion of the 
covered grass retained, and at the head of the slope, at the right, the 
brown trunks of a group of trees stand out against the red of a winter 
sunset. In the foreground a small boy well muffled up drags homeward 
branches of firewood. 


Signed at the lower right, Wm. M. Hunt, 1864. 


From the collection of the late Henry Sayurs, Boston. 


DAVID YOUNG CAMERON 
Britisu: 1865— 


107—_MOUNT AINS 


| (Panel) 
HO 7 Height, 13 inches; length, 16 inches pal; ae 


PEAKED mountains with jagged inclines rise bleak and barren on either 
hand, their slopes appearing brown and purplish against a sky veiled in 
light vaporous clouds. In the middle distance, as the eyes look up a bit 
of a drear, unfriendly valley, a rough and low outpost of rock gleams, 
light gray and white in sunlight, and at its foot in the foreground comes 
to view the only bits of verdure the landscape presents—rough patches 


of green grass. 
Signed at the lower left, D. Y. CAMERON. 


From the collection of the late H. B. Dicx, New York. 


LEON AUGUSTIN LHERMITTE 
Frencu: 1844— 7 


108—LANDSCAPE WITH SHEPHERD, 

| : FLOCK AND WINDMILL 
Yoo Tt (Pastel) vam 
Height, 13814 HE: length, 1714 mches v 


a 
Grazine fields and fields of Seeing! land, rolling, low kb He Ss, 
reach to a village of clustering red roofs, and its dominant church. The 
_ foreground is within a cloud-shadow, and here a shepherd is at the 
head of his flock, and at left a gray windmill stands in imposing isola- 
tion. Sunshine illumines the farther fields and a haystack there, and 
the village beyond. 

Signed at the lower left, LuERMirre. 


From the collection of the late H. B. Dicx, New York. 


JIN 10 Baugh furres lirur0ed Saladin, bo fa ay Se 
Sold. hifch £27 1908 ~ BAAKK = 


a hie Ge ; ee. eee, S.C eA a ay ep ee ee 


HENRI HARPIGNIES- 
FRENCH: —1819—1916 


109 LANDSCAPE e 
— (Water Color) 


[00-7 a Height, 652 inches; length, 1014 inches a Leaglak | 


AT oa Fl left. and in the distance are creamy and gray farm build- | 
: ings with red tile roofs, and in a rough, climbing road between them, with a 
| verdure at either side, are two small peasant figures and some Nomndeang ; 


chickens. 


Signed at the lower left, H. Harrientes. 


From the collection of the late Henry SayLEs, Bogen 


ELIHU VEDDER, N.A. 


AMERICAN: 1836— 


110—CONSPIRACY OR CONFIDENCES? 
/$0- Height, 1534 inches; width, 1014 inches Be fbuegwcan f 


Portrait figures of two men, at three-quarters length, a group segre- 
gated from a larger composition. ‘The men are in the rich and colorful 
apparel of the days of ruffs and slashed sleeves, and are in earnest con- 
versation. One, a dark, bearded man with brows knit, faces the observer 
and listens dubiously but intently to a ruddy and sandy comrade of 
Falstaffian figure, who is seen a little less than in profile facing the left. 
Conventional background of architecture and landscape. 


Signed at the right, midway, on the pillar, E. VeppER. 


From the collection of the late Henry Sayues, Boston. 


WILLIAM P. BABCOCK 


AMERICAN: CONTEMPORARY 


111—AT THE MIRROR 


Go a” é Height, 1734 inches; width, 18 inches te Mee i ii 


THREE-QUARTER length figure of a plump, rosy-cheeked and red-haired 
young peasant girl, standing in profile to the left before a small mirror 
which reveals her full face. She wears a red and green plaid dress and 
a red shawl. 


Signed at the upper right, W. Bascock, °57. 


From the collection of the late Henry Sayuxrs, Boston. 


FOOT 


DAVID YOUNG CAMERON i 
Britiso: 1865— tS, 
112—BEN LEDI: SUNSET 


Mounrarns rise dark and in sharp outline against a light creamy sky— 
a sunset sky of pale canary or of palest gold with the slightest sugges- 
tion of green. Aloft a single dark streak accents the gold, and at left is 
a tinge of mauve. In the flat valley of the foreground a few trees and 
shrubs appear dimly, in their modest share of the reduced light reflected 

from the sky. : 
Signed at the lower right, D. Y. C. 


From the collection of the late H. B. Dicx, New York. 


GILBERT MUNGER 
AMERICAN: 1837—1903 


1183—FOREST OF FONTAINEBLEAU 


(Panel) : 
oJ / O- Height, 15 inches; length, 18 inches ff y, : Sool, 


Across a foreground of green herbage, dark in forest shadows and en- 
circling a small and silvery pool, the visitor looks through a broad 
umbrageous arch which is also deep green in its own shadow, to an area 
of the forest land flooded with sunshine, and on to a vaporous turquoise 
sky tinged with soft cream-white and delicate mauve. Out in the 
sunny area are lines of short trees in the colors of the early autumn, 
with a clear vista down the centre of the plain in which they stand, and 
at the edges of the shaded arch bright shafts of light accent the silver 
trunks of birches. Two women in the sun are binding up fagots, and 
a third is resting in the shadow of a tree. 


Signed at the lower left, GrrnERT MuNGER. 


Property of a Private Collector. 


Height, 13 inches; length, 16 wa fF Abawaheaus) 


AUGUSTIN THEODULE RIBOT 


Frencu: 1823—1891 ; 
a 


114—THE YOUNG CELLARER 


at 


/b60 4 Height, 18 inches; width, 1434 inches dy h de y ; 


In dim and spacious caves, with high round arches in which the shadows 
are deep, a blond and stout young man in loose white shirt and blue 
apron stands facing the observer, and holding up to the light a wine - 
bottle, another bottle in his other hand held at his side. More bottles 
are on the floor, and in the background, behind a vat, an assistant is seen ’ 
with another bottle. 2 : 


Signed at the lower right, Risot (with date 1868?). 


From the collection of the iate Henry Sayues, Boston. i 


y 


JOSEF ISRAELS 
Dutcu: 1824—1911 


115_IN THE GLOAMING 


: (Panel) 
ZA 150 as Height, 18 inches; width, 1484 inches M4. M b- Jehuwab- 


Tue last tinges of sunset linger in a clouded sky, against which are seen 
the slowly darkening trees about a Holland farmhouse and its outbuild- 
ings. In front of these a fenced-off green lot shows a spot of color in 
a mound or two of hay at the left, and in the foreground two peasants, 
a youth and a maiden, lean against the heavy rail fence, edging together 
in sympathetic twilight proximity and peace after the individual labors 
of the day. He is in his shirt sleeves, and both are in sabots; she wears 
a white Dutch cap and her arms are folded. 


Signed at the lower right, JosEF IsRaELs. 


Property of Mrs. E. W. Bass, New York. 


WILLEM MARIS aa 


Dutcu: 1844—1910 
116—DUCKS . 


/1004 Height, 14 inches; width, 10 inches Loot. -Siible ; 


Ducks on the wing and ducks placidly swimming, their plumage glisten- 
ing in the soft and diffused light of a slightly hazy day. ‘They are seen 
above and on a silvery stream which from the foreground courses almost 
straight back to a hazy distance where gray windmills are descried. To 
left of the stream leaning willows line its bank, and to right of it are 
lush green meadows. 


Signed at the lower left, Wittem Maris. 
Purchased from Messrs. Knoedler & Co. . 
From the collection of the late H. B. Dicx, New York. 


!/ 753, hsedeh po Ip. heott Lhurbe) db-typgog, BARKX * 
SNA, ja A & Man den av b/ig bs BASKK 
11769,, Udinnen tag ‘904, 
a, ; 
dota . tb. 0. buck May (90 f,7 BASKX., 


DON RAIMUNDO DE MADRAZO 


SPANISH: 1841— 


117—_UNMASKED 
(Panel ) 


a? 75- + Height, 29 inches; width, 1614, inches KU Npyoctllev ms Vi 


FuLL-LENGTH portrait of a complacent beauty with easy smile, décolleté 
waist with shoulder sleeves, and short skirts, carelessly seated upon the 
arm of a carved gilt settee, and glancing dreamily over her left shoulder 
as she faces the spectator. Throat and hair banded in red, she wears a 
dark velvet bodice, buff-brown skirt, and underskirt striped in brilliant 
red and edged with lace flounces. She is pleasantly fatigued, and on 
her lap rests the black face-screen from a bal masqué. 


Property of Mrs. E.,W. Bass, New York. 


\ 


WILLARD LEROY METCALF 


AMERICAN: 1858— 


118—_MOON LIGHT 
¢ 
I SEO 7 Height, 26 inches; length, 29 inches ELLA 


Bacx of a white rail fence which stands on the far side of a roughly 
broken country road a tall and roomy farmhouse looms against a star- 
lit sky, and its white face is traced with the shadow-branches of a grace- 
ful tree standing in front of it, outside the fence, the whole landscape 
being bathed in soft moonlight. In a corner of the house sheltered by 
bushes the mellow glow of an interior light appears. 


Signed at the lower right, W. L. Mercatr, 1906. 


From the collection of the late Henry Sayuxrs, Boston. 


J. FRANCIS MURPHY, N.A. 
; eee ee 1500— - 


119—SEPTEMBER AFTERN OON 


S000 3 Height, 14 inches; length, 19 neh th Ww 


A Broap green meadow spans he foreground, dotted with/notes of field 
flowers and the hint of a silvery rill. At the left is the dark edge of a 
green wood, with a line of slender saplings standing as sentinels before __ 4 
it. In the distance are agricultural fields, and farm buildings, and at the 4 
right is a low, bush-covered hillside, the whole under a sky aoe with 
the drifting clouds of September showers. | 


"Signed at the lower left, J. FRANCIs Mase. 99. 


From the collection of the late H. B. Dick, New York. 


JOHN SINGER SARGENT, N.AJ RAG aes 


ree  GNnee hice 1856— ee a 
~ q 


120--SKETCH OF A LABORER 


yr g Ae Height, 3014 inches; width, 25 inches 


*. THREE-QUARTER length figure of a man of an type, daly Fouled 4 


a black hair overhanging his brows, standing with his back to a light gray 
wall and facing the left, three-quarters front, with his head thrown well 
back. His eyes are narrowed and leveled, as though scrutinizing some 
piece of work with judgment and care. A brown cloak hanging on his 
right shoulder falls away from the left shoulder, and is brought around 
under the left armpit, leaving the left shoulder and breast nude. The 
flesh is creamy and supple, in‘a broad, warm and variable light. With 
bare arm akimbo, the left hand rests upon his hip; (the right arm and 
hand not visible). On a wall-shelf and wall beyond eat a plate and 
classical pottery pitchers, gray and blue and ereen. 


| From the collection of the late H. B. ‘Dicx, ven York. 
W966 4 Boughh Armes taguat crack VE hei fa Tare tal 5. 
NSA te fo. bik ME PEOS 1 


Theo pectin. wae cnh hrs bec to J. S$. b: nk 
falon and re Tos SH! 7 4 j 


_ Z ~ — an ye E a = ea 7 ae ee ae en ee — cre oaacaa Cs 
- “ - - = = = SS eg ac = — ne o 
ee nn ne ennai ssp SSISESINS SESSA ESE - - - ara meee emanate . sananasl AER es a 


Xf 


GEORGE INNESS, NAL 

AMERICAN: 1825—1894 | 
121—SUMMER LANDSCAPE WITH FIGURES 
J/KOO 7 - Height, 10 inches; length, 14 inches 4 re, 


Ar right on the edge of a green clearing are handsome birches of noble” 
proportions, and seated in the sunlight near them, at a large log, are 


two persons in conversation. The foreground is in shadow, and herea 


turn of a brook comes into view. At the distant left a load of hay is 
being driven down a road vane amid finely flourishing green trees. 


Exhibited at the Roo Museum of Fine Arts. 


From the collection of the late Henry Sayizs, Boston. 


MARTIN RICO 


SpanisH: 1850—1908 


122—FISHING PARTY: THE RIVER SEINE 


LO 7 Height, 15 inches; length, 2244 snchen 4. O. Loos 


In the foreground the placid river mirrors its farther bank of grasses, 
shrubbery and trees, the fleecy clouds in a robin’s-egg sky, and the 
inverted images of a fishing party in three rowboats drawn up at the 
edge of the bank. In one boat are two men, one man has a boat to him- 
self, and in the other boat are a man and a woman. In the background 
is a varied rural landscape of vague charm. 


Signed on the central boat, Rico. 


Property of Mrs. E. W. Bass, New York. 


LEON AUGUSTIN LHERMITTE 


Frencu: 1844— | [', ye 
( pve 


d 


123—_SHEPHERD AND FLOCK 
(Pastel) 


/1E0O 4 Height, 20 inches; length, 23 inches by Li 


Pate yellow and rose tinge a sunset sky, visible at left over far-off’cobalt 
hills and at right above the tops of near-by tall haystacks, between 
which rays of the waning light brighten an earth carpet of fresh green 
grass. A diagonal line of aged pollard willows forms an angle with the 


' line of the haystacks, and within the angle there comes forward a stout 


shepherd wrapped in his greatcoat, at the head of his close-following 
flock. 


Signed at the lower left, L. LHERMITTE. 


Property of Mrs. E. W. Bass, New York. 


WILLEM MARIS 
Dutcu: 1844—1910 


124 THE THREE TREES AND THE D ee 


JKOO Height, 16142 inches; width, 124% mches ¥\\ 
Two ducks are in the water of a marshy stream, which run m the 


ro : , 


foreground back to a hazy and indefinite distance. The water surface 
is silvery with cloud reflections, and interrupted by yellow and brown 
and green notes of grasses and weeds that grow up through the shallows. 
Three more ducks are in flight above the stream, at whose edge on the 
right some brown bushes line a bank of soft green. Above these rise 
conspicuously three slender trees, whose wispy foliage holds the sombre 
hues of autumn. | 
Signed at the lower right, WittEM Manis. 


From the collection of the late H. B. Dicx, New York. . 
[19% 4 Brughir La! Hbag we. Dek 51909 JLTRRI 
Sotd . ot. i. OStclas her1271909., Box OV + 


Sold. 76. 7. Mek LKisgve 7 POAXx 4 


HENRI HARPIGNIES 
, Penner: 1819—1916 


} i 125—LANDSCAPE AT SUNSET 
a KLO0 7 ; Ue 251, inches ; width, 23 mches 


Tw a: wild part aE fair France the eye ‘looks westward ao a Xe 7 
vale with trees at either side, across a wandering river and a low em- 
bankment, toward the westering sun rapidly sinking in crimson below 

the horizon, which shows a soft glow of gold. Toward the zenith the 

sky is still a pale turquoise blue. The low land of the foreground 1s 

gray with tufts of brown and green, and on a rise at either side the a 
vegetation thickens: At left silvery trunks of slender trees are picked _ a 
out below a dense expanse of green foliage which stands dark against 
the sky, while on the right a line of feathery trees catches a slant of 
light from the sunset, bhehienigg and gilding their leafage. 


Signed at the ieee left, H. Harricnigs, 1907. 


Property of Mrs. Anna J. SCHOELKOPF. MAE Sis coe. 


GUSTAVE COURBET Ss 
FRENCH: 1g TO 1B a 


126—BORDS DU DOUBS: EFFET D'AUTOMN 
KOOOz +» Height, 82 inches; width, 26 arhens Mee 3 


A strep hillside coming into view high a on the left in the middle distance : 
slopes to the foreground and toward the right, its deep. green grass 
turning to yellowish- green near at hand, and the slope enriched and 


brightened by. the red and rich yellow of shrubbery and brush, this 4 4 


warm coloring further heightened by the autumn foliage of a tree tower- 
ing over a great rock whose base is swept by a dark greenish-blue river. 


Above the stream, which appears only in the right’ foreground, moun- — 


tains rise abruptly, to rearward, and in their higher altitudes. snow lies 
white within their cradling blue summits. 


Signed at the lower left. G. Govmnen 6G: 


From the Pel ecUe’ of the late HENRY SAYLES, Boston 


RICHARD PARKES BONINGTON 


EncusuH: 1821—1828 


127—THE TURK 


P00 1 Height, 1814 inches; length, 16144 ious 
| | f; twee 


A swartuy turk with thick black moustache is seated on the floor, with 
back against the wall, surrounded by cushions and in the shadow of a 
rich cardinal drapery. With one hand raised to his turbaned head, he 
holds with the other his very long, straight stemmed, glowing pipe. He 
faces the spectator, with dreamy eyes cast down. 


From the collection of the late Henry Sayues, Boston. 


2 


ALEXANDRE GABRIEL DECAMPS 
| Frencu: 1803—1860 


e 


‘ 1283—HIMSELF AS OTHERS SEE HIM 


“(| LE Ae Height, 12° inches; length, 15% pate Malena 


A portTrayAL of a large and very sapient-looking simian, brown of coat 
and gray of face, who after regarding himself in a hand-mirror turns to 
look at the spectator keenly, with eye ready for a challenge.» He is 
seated on a light brownish floor, facing the left, and the dark brown of 
his coat is relieved and enriched by a dark crimson drapery gathered 
about his knees, his upper body being seen against a grayish-white wall 
brightened by sunlight. 

On. the back, the initials D. C. 


Exhibited at the Boston Museum of Fine Arts. 


From the collection of the late Henry Sayutxs, Boston. 


| 
th 


NARCISSE VIRGILE DIAZ DE LA PENA 


x Frencu: 1807—1876_ 


129—FEMME ET LAMOUR 7 
S000 7 Height, 1114 inches; width, 684 O° Mp 4, : bo 


Acarnst a dark woodland background the figure group is seen in sun- 
shine and shadow, the high light falling broadly uopn the flesh of Venus 
and her draperies, as she stands leaning, half-sitting, against a grass- 
covered rocky mound. Her draperies of white and rose fall to her 
waist, clinging by loops to her arms. With figure three-quarters to the 
front she faces the left, her face being seen in profile as she looks down 
at Cupid, and she extends her right hand over his head while supporting 
herself with her left against the mound. 


ee ee 


Fa a 


Signed at right, on the mound, N. Dtaz. 
Purchased from the French expert, M. Georges Petit, Paris. 


e ° a, } f f od) ¥ 
From the late Mr. ALBERT SPENCER’s private collection. Wh sm ed Caley 


Sameer semanas Pare Maen oe NOIRE ES EE Og tee See 


if 


Ve 


VV 


NARCISSE VIRGILE DIAZ DE LA PENA “a 
Frencu: 1807—1876 


130—AN APOTHEOSIS 
| (Panel) 


bn 5O i: Height, 1814 inches; width, 104% inches NGO OLE 


Aw allegorical female figure painted in the nude, in the attitude of an 
ascension into space, a remarkably fine bit of painting, in construction, 
surfaces and values. The figure seems to be rising among tenuous clouds 
in a turquoise sky, headed toward the right and away from the observer, 
and about to go free of draperies slipping from the knees. Her face is 
turned away and a mass of Titian hair to view, and the right hand is 
extended lightly before the breast. The body is in sinuous posture and 
the play of transparent shadow about the muscles most deftly managed. 


< Signed at the lower right, N. Diaz. 
Purchased from the late Adolf Kohn, New York. 


From the late Mr. ALBERT SPENCER’s private collection. (>  O«, Méle ee 


JULES DUPRE 
Frencu: 1812—1889 


131—AT CLOSE OF DAY ORs 
N50 4 Height, 916 inches; width, 7% inches [A : tb 


Frevps of wild land, pastures, with stubble and brush, rocks and occa- 
sional trees, are receding from detailed view in the gloaming, and shad- 
ows deepen in the middle distance. In a confused and windy sky a 
white-edged cloud-bank near the horizon catches a creamy light from 
the departed sun, and reflects it upon the foreground, gilding the figures 
of cows recumbent near a pool. 
Signature on the back, J. Dupre. 


Eahibited at the Boston Museum of Fine Arts. 


From the collection of the late Henry Sayuzs, Boston. 


| 
: 

J 
: 
i 

. 
“ 


* 


bitte «michal 


JEAN BAPTISTE CAMILLE COROT 
Frencu: 1796—1875 ney ; 
Nv 


1382—LANDSCAPE » 
(Panel ) 


; POO + Height, 14 inches; width, 101% inches O Meenth, Aigeh 


A Brook gray and silvery, and with a hint of blue, issues from beyond 
a blunt and rough point of land on the right of the foreground, and 
curling forward about the point, purls out of view with the limits of the 
picture on the right. Seated in the soft and deep green grass on the 
left of the stream, a peasant girl in a red cap watches her goats, which 
may be seen in the middle distance, where the ravine of the brook yields 
to hills. At right and left grow feathery Corot trees, and a distant hill 
is crowned by buildings, beneath a turquoise sky of many clouds. 


Signed at the lower left, Coror. 
From the collection of the late H. B. Dicx, New York. fo 


OM. 42.58, Argh ugllamans Mev iste, fotKx |e 
Sd. Ullearue tboaitt Gb 1893 1 BMSK* # 7377 


; Sota. €.&. ackem fr hor 3of-g0b, B OSXX 4 
47! flianen 9 1909, aud Sole 6.03. Mrek fteo- 19.29 Bisee ns 


ON 


CHARLES EMILE JACQUE 
Frencu: 1813—1894 


133-SHEPHERDESS AND FLOCK IN FOREST 
fs a pagel 
7, det ea 


Height, 134% inches; aaaite 101% inches OK Hala 


Brotuer monarchs of the forest, two great trees aged and gnarled, 
stand at the right, on the border of their green and dense domain, in a 
green clearing at the edge of a pond. Their gray trunks reflect silvery 
rays of light, and their upper branches range above and beyond the 
picture. At the foot of the larger tree a young shepherdess in pink and 
gray and blue and white stands leaning against the sturdy trunk, watch- 
ing her flock of sheep that have come to the water to drink. The sun- 
light that glints from the fungus-grown tree-trunks also silvers the noses 
BP the Shee and the unctuous surfaces of their fleece. 


Signed at the lower right, Cu. Tacave. 
From the eclleaizon of the late H. B. Dicx, New York. 


| CHARLES FRANCOIS DAUBIGNY 
| Frencu: 1817—1878 


134. VILLAGE ON THE OISE Wy w 
+ : 4100 7 Height, 15 inches ; length, 2616 inc yy. Mba Me + ba , 


A section of the village comes into view at the left, on the top i a 
green bank which rolls gently down to the placid, silvery river, which 
occupies all the foreground and in the middle distance loses itself amid 
wooded shores softly luminous in the first tints of autumn. The shadows 
of the trees mottle the water, two punts are drawn up at the end of the 
bank, and at the foot of a gray path down the slope a laundress accom- 
~ panied by a small boy is doing the linge. 'The village houses are creamy, 
under dense roofs of brown thatch, and the garden walls are creamy 


and gray. 
Signed at the lower left, Dausicny, 1863. 
Eahibited at the Boston Museum of Fine Arts, 1886. ae 


From the collection of the late Henry Sayues, Boston. 


F htat a 


JEAN BAPTISTE CAMILLE COROT / 
Frencu: 1796—1875 


135—LANDSCAPE WITH COWS im \\ te 


tHoo-+ Height, 15% inches; length, 235% ee é y te. 


Hazy in the far distance are low hills, above whose AC an orange glow 
suffuses the horizon, and the sky of white clouds above lightens a silvery 
reach of water that comes between two points of land in the middle 
distance and spreads out in the foreground, where it laps lazily a shore 
of grasses, reeds and blossoming wild plants. The point of land on 
the left. rises in a steep slope, and large and small trees on it spread 


their leafage before the sky and throw the nearby foreground into 


transparent shadow. Beyond them houses are seen on the slope. On 
the right the point of land is low and lightly wooded, and an indefinite 
structure appears at its tip. In the foreground shallows two red cows 
stand knee deep. 

Signed at the lower Sat Coror. 


Exhibited at the Roston Museum of Fine Arts. 


From the collection of the late Henry Saytzs, Boston. 


ro ey PN ee EN Pee ee er ee ee 
y x Pa Sey i” 


ADOLF SCHREYER a 
German: 1828—1899 


136—A WALLACHIAN TEAM 
Oth. - Height, 314% inches; length, 59 inches 


NIGHTFALL approaches in a wild and lightly wooded country, with scat- 
tered trees at the foot of a mound on the left and the edge of a wood on 

a higher hillock on the right. Through the hollow between these emi- 
nences a deeply rutted road runs, winding off toward the left, and in it 
in the foreground is a heavily loaded cart drawn by a numerous team of 
straining horses. Led by one man in the saddle, they are urged with 
the whip by another man riding a wheeler. The last rays of-the setting — 
sun brighten their glistening backs, and in the shadow of the hill, escap- » 
ing the sunlight, is a third mounted man, accompanying the convoy as 
guard or director. 


Signed at the lower right, Ap. ScHREYER. 
Originally purchased from Flic late William Schaus. f fa 
From the Henry T. Cox Collection, New York, 1902.~ aan _ 


Property of a Private Owner. 


We 6 OO 7 “EL eight, me inches; length, 8234 inches 


EMILE VAN MARCKE 


Recon 1827—1890 Py 
137—THE FARM AND ITS LIFE 4 : q 


CoTrTaGES me ate buildings, flocks and herds, and their ald be 2 
both human and animal, and the wide-reaching fields, all are brought 
together by the artist and concentrated in a profound study of appre- 
ciation and sentiment, one of the painter’s most eloquent efforts and 
without the drawback of the great scale of some of his comprehensive 
canvases. Here are clustered on the left a hamlet group of cottages, 
gray, yellow and reddish-brown, with thick roofs of warm brown thatch; 
the nearer roofs reach above the picture and over the ridge of their 
next neighbor project the taller branches of friendly trees. Turning the 
angle of a narrow street and coming forward, a farmer is following his 
animals, a black cow in shadow and some sheep in front of: her and in 


-front of them a calf, while leading all are two cows, a white-faced red 


cow and a white cow, well forward in the sunshine—in their shadow at 
the side a black shepherd dog. At right more sheep are nibbling beside 
a cottage, at the edge of the fields. Essentially placid, the entire com- 
position is rendered with an animated sympathy supporting sureness of 
technical accomplishment. 

Signed at the lower left, Em. van Marcxe. 


From the Henry -T.. Cox Collection, New York, 1902,.~X45 oe bS.: M 


The property of a Private Owner. 


fio 4 


eo “Fane i £ 
i c 


> — eae 2 ee eee ne ee en ee a eee Ne ee ee Ue 
ee ie | ee ioe. ty at ee eet a ee Pe a ae 8 a 
5 : f ad eee Oi eo a SUR ia eS Bie, : 


FREDERICK J. WILEY 


AMERICAN: CONTEMPORARY 


138—OAK IN AUTUMN 
/b0 7 Height, 24 inches; length, 32 "6 


On the right the edge of a green wood under a Mads darssig La sky, 


and before it in the foreground a detached tree, an oak leaning slightly, 
at the edge of a spring-pool. The gray bark gleams white in a slant of © 


light, the foliage is autumn-brown with touches of red. Surrounding © 
the pool, green grass and weeds, enlivened by wild flowers, and at the — 


border of the pool a figure. 
Signed at th lower right, WILEY. 


From the collection of the late H. B. Dicx, New York. 


FRANCOIS CLOUET | 


(ATTRIBUTED TO) vA 
Frencu: 1510(?)—1572 \ 


A 5° 4 | Height, 12%4 inches; width, 8% inches yy WJ ‘ : 


SMALL figure, bust length, turned three-quarters to the left. Ina gold 
brown slashed doublet, linen collar and flat red cap. A small beard and 
moustache. He holds a carnation in his right hand. Green background. 


The name of Clouet is today regarded as generic rather than as signifying any 
clearly defined individual. Jehan Clouet seems to have been of Flemish extraction; 
and, although his son Francois Clouet was court painter to Henri II, he worked 
under northern influence. This portrait was bought by Mr. Adams in Paris, with an 
attribution to Clouet. | 


139—PORTRAIT OF A MAN WITH A RED HAT 
| 

. | 

. 


By order of the Executors of the late TuHarcuer M. Apams, New York. 


ENGLISH SCHOOL 1 


Earzty NINETEENTH CENTURY 
140—CHILDREN BLOWING BUBBLES 4 i 


Oe». Height, 25 inches; width, 191% inches Wh ogee | 


A urtLe girl in low cut blue dress is seated on the left. She looks up 
at the large soap bubble which has just been blown by the boy, who, in a 
a brown coat and white waistcoat, is on the right; he holds a dish of a 
soapy water in his extended right hand. 

In composition and general style, this recalls certain pictures by John Opie 
(1761-1807). When acquired by Mr. Adams, it passed under the name of “Le 


Main.” 


By order of the Executors of the late Tuarcuer M. Apams, New York. } 


SIR HENRY. RAEBURN, RAS 
Score: 1756—1823 R 


be ake 

? 141 PORTRAIT OF FR nat RONSIDE cong 
4 sath ne OF TANNOCKSIDE a 
| $5007 om “Height, 30 inches; width, 25 inches VE iy 
Ta -LENGTH, trek -quarters to the Higli the face to the ante i a 


dark blue coat, buttoned across the chest, white stock. Wearing side 
whiskers. Neutral Seneca ral ae oe Ee eee oe 


Purchased from W allis & Sah London. 


From. the ee of the late Hewry = Boston. ; | ee 
hohe i / 99% [Wel (a fons) 4 My. 19.0 Yodi ae 
nt £5 1906 epg) 07% 8 ! Ot. (50 es 


ee ee ee ee ee 
* 


s 


f 
7 ae og ol a # 
4 Made Lean. ty V1ee 4 ‘ ~ 


pot e725 Le 5 ad S a / f Rar y . ae 


f 


Se eos 
ee 


IE CTT 


E : gw 


fio" ae Yeh 29% inches: re 


ty v8 A 
me t 


eyes “LENGTH, three-quarters to me left, 
buttons, lary ge white muffler. 
_ ground. os ee a 


t ” 


Purchased from Wallis & SoH London. 


From the collection of the late Heyny Savixs 


a) 

ai? Ie aii 

~ _ > ¢ ik 
. “a 


MICHIEL JANSZ VAN MIEREVELT oy ie 
~ Dutcu: 1567—1641 , : 


143—PORTRAIT OF A BURGOMASTER 


/007 Height, 29 inches; width, 24 inches Vee 


Hatr- -LENGTH, three-quarters to the right. In a black brocaded aah 
let, flat collar with lace strings, soft black felt hat. The features re- | 
fined and strong; the eyes blue and the expression serious; an eet ine 
and moustache. | 


4) 
{ 


~ Signed half way down on the right with the artist’s monogram, inseribed “aet. 
suae, 42,” and dated 1639. And so one of his very latest works. 


Formerly in Hie collection of Mrs. Clarence, M. Hyde, sold February 
20, 1912, No. 147. 82/00 4 M ve darcy MH. 


o= 


By order of the Executors of the late Tuarcuer M. fey New Vou 


r Se OE . —_ ees “ee 
a tee a ae —S — SSS SS 


AELBERT CUYP 
— Durcu: 1620—1691 


144—PORTH AIT OF A GIRL 


bo000% : eieghs, 42 inches; width, 81 inches , i ee C 
SMALL full- -length figure of a are aged about twelve, in a grey tage a 
with stiff skirt; short sleeves embroidered with gold; pink bow; large — 
lace collar and cuffs; a cap, trimmed with gold braid, and having a 
yellow and pink tassel; fair hair and earrings. She stands slightly - 
toward the right on a paved floor. With her left fingers she.touchesa . 
bunch of grapes, which, together with a peach, black grapes andalemon, = 
is in a dish on the table on the right. Curtain backgroune: ) | 


Purchased from Sir Charles Robinson by the late Thatcher M. done 
mm 1911. 


By order of the Executors of the late Tuarcuer M. Apvams, New York. 


V/ 


ASOO 4 Height, 29 inches; width, 24 ee 4 


SIR JOSHUA REYNOLDS, P.R.A. 
Enewiso: 1728—1792 


145—PORTRAIT OF MASTER HAR a . 
AS “INFANCY” 


Smauy three-quarter length figure. In a white, low-cut Sum 
and puce sash, turned toward the left and pointing at some distant and 
unseen object. A tree above and to the right in full autumn foliage. 


Master Francis George Hare was the eldest son of Francis Hare, or Hare- 
Naylor, of Hurst-Monceux, the associate of Charles James Fox. He sat for “Infancy” 
in 1788 and 1789. The picture, which was exhibited at the British Institution in 
1845 and at the Royal Academy in 1872, was painted for his aunt, Lady Jones, wife 
of Sir William Jones. It passed to Miss Shipley, Marcus Theodore Hare, Julius | 
Charles Hare and Augustus J. C. Hare. It was the subject of a lawsuit at 
Westminster Hall, London, in 1869. (Graves and Cronin: “Works of Reynolds,”  =_— 
1899, Vol. II, p. 435.) It was engraved by R. Thew and S. W. Reynolds. Since 1906 
it has been in the Metropolitan Museum (No. 248). 

Another version of the same subject is “the picture of unquestioned authen- 
ticity and great charm, the “Portrait of Master Hare” (No. 1818B), by Sir Joshua 
Reynolds, who in this, as in other similar pieces, proved himself the painter par — 
excellence of childhood in all its innocence and ingenuousness, even though this 
picture is by no means impeccable as regards draughtsmanship. It was bequeathed 
to the Louvre by Baron Alphonse de Rothschild in 1905. (“The Louvre: Fifty 
Plates in Colour,” 1910, p. 305.) 

This, a third, version of the subject was. for some time the property of Thomas 
Hoade Woods, for upward of forty years a partner in the firm of Christie, Manson -. 
& Woods, and was sold at his sale at Christie’s May 26, 1906, No. 74. £/959, 00 Me reo d 

F. C. Lewis engraved the “Portrait of Master Hare,” after J. Slater’s picture 
painted in the “Grillion’s Club.” 

-O’Donoghue: “Engraved British Portraits in the British Museum,” 1910, Vol. 
Il, p. 443. 

A. L. A. “Portrait Index,” p. 654. 

Hare: “Story of My Life,” 1901, Vol. III, p. 10. 

Reynolds: “Engravings by S. W. Reynolds,” Vol. II, plate, 49. 


By order of the Executors of the late THatcHer M. Apams, New York. 


_ 


s 


ATL t Uni “ye 2 93 atk pit é ae s {4 eh YW . hon 6 fe Phe M ef ofs- liad wv 
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aud a peytc : te. Fhe cot oF. of ti inetd pe Lp 7. Vee After tte 
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“St. bY xk = S ole Ue pt 199922, 


SIR HENRY RAEBURN, R.A. 
Scortisu: 1756—1823 


146—4A BOY WITH CHERRIES a 
ho.b60 Tes Height, 29 inches ; a 24 inches OA k Apenk 


SMALL; nearly full length: to the front. Fair-haired, blue- -eyed, rasyet fe 
ae cheeked, in white shirt, sitting on a hillock. His left hand is raised and — | 
holds cherries ; his right grasps the handle of the basket on the ground a 


atk by his side. 


F Hie eae in the possession of the family of the artist, and by them exhibited — 
V at Edinburgh, 1876, No. 89. Included in the Raeburn sale at Christie’s May 5 
1877. Subsequently in the collection of Captain Gaskell. Sold at Christie’s, March © 
17, 1888, No. 80. Later in the collection of Sir William Cunliffe Brooks (died 1900) — 
and disposed of at Christie’s in June, 1901. Three years later it was in the possession 
of Major Oswald Ames, in London. . eeee. 
/ W. R. Andrew: “Raeburn,” 1894, p. 105. 
“Year's Art,’ 1902, p. 278. 
val Armstrong: “Raeburn,” 1901, p. 115. 
Graves: “Century of Loan Exhibition,” 1914, Vol. III, p. 975. 


By order of the Executors of the late THatcurer M. Apams, New York. 


a» 


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AP se ee oe, ee eee ea ee eee ee Se aoe ee ee 


SIR HENRY RAEBURN, R.A. 
ScorrisH : 1756—1828 BF 


147—-PORTRAIT OF LADY BROUGHTON , # ? Pode i 
Q [8 300+ | Height, 35 inches; width, 24 inches WH Li is a 


oe THREE-QUARTER length; three quarters to the fett seated. In a ni 2 
dress of muslin, black sash; a blue wrap lying across her arms. Dark — 4 
blue and gold ribbon in her dark hair. Her left arm rests on a pedestal. — 
Sky background. al 


‘Elizabeth, eldest daughter of Philip Egerton and sister of Sir John eden of 
Fulton Park, married, June 5, 1792, Sir John Delves Broughton, 7th Bart. ‘24 A 
John succeeded his father in 1818, and d. s. p. Aug. 9, 1847. Lad Broughton bes re 
at Hoole House, Cheshire, Jan. 27, 1857, aged 86. a 

The Lady Broughton painted by Sir Joshua Reynolds was the mother-inelaw i. 
of Elizabeth, Lady Broughton, here painted. eit ‘ 

The family of Delves were out of genealogical consideration for centuries, but 
their ancestor, Sir Henry Delves, had fought in the French wars under Edward, 
the Black Prince. The fourth Baronet assumed the name of Delves. . 


oa Le 
i & 


By order of the Executors of the late 'THaTcHER M. gue mt: York. 


| Peabo Qe £ 1Z.O~ 10. O. 0 a 


2% 


/ SIR JOSHUA REYNOLDS, P.R.A. wh 


EneusH: 1723—1792 NY ye" 


148—PORTRAIT OF WILLIAM ROBERT, ) 
SECOND DUKE OF LEINSTER 


/HOO at, Height, 27% inches; length, 35 inches , YG Md 
6° Sxarep in high-backed chair; half length; as a young man. Ina (a 


drab vest and breeches, and marabou, fur-lined coat. Lace cuffs and 4 
cravat. His right hand rests on a document in the left foreground. His 
left rests on the arm of the chair, with his fingers against his waist. 


William Robert (Fitzgerald), 2nd Duke of Leinster, was born March 13, 1749; 
he succeeded to the peerage, November 19, 1773; was a supporter of the Union. He 
died in Ireland, October 20, 1804, and was buried in Kildare Abbey. It is his son 
and heir, the 3rd Duke of Leinster, who is alluded to in Barham’s pep dehy 
Legends” sub “Mr. Barney Maguire’s Account of the Coronation.” 

This portrait was purchased from General Bulwer, of Heydon Hall, Norwich. 

Such was the social standing of the Duke, that there are at least three other 
portraits of him, who was painted by Reynolds in 1775. (1) The Duke of Leinster 
at Carton, Maynooth, possesses the three-quarter length (49 in. by.39 in.) which 
was exhibited at the Royal Academy in 1775, No. 234, as “A Nobleman” and again 
in 1879, No. 44. It was engraved by J. Dixon and by S. W. Reynolds. (2) The 
Duke also owns, at Kilkea Castle, a three-quarter length (50 in. by 40 in.), identical 


Revo. sents | in composition but with an inscription on the paper; it formerly belonged to 
hn Drwrdvovwg,ieeven  \_A, Beauclere, of Ardglass. (3) A head (30 in. by 25 in.), replica of a portion of the | 
. I. (30--. ‘two previously mentioned pictures, belonged to the late Rev. Sir Talbot Baker in is 
1899. 7 
The Duke sat to other painters also. Martin Archer Shee painted his portrait _ 


standing by a table and wearing a riband and star. It was engraved by C. Turner 
and by J. Heath. Gilbert Stuart also painted his portrait, holding a paper. It was 
engraved by C. H. Hodges. 

Sir Jonah Barrington: “Hist. Memoirs of Ireland,” 1835, Vol. 1 p.18l. 

Leslie and T. Taylor: “Reynolds,” 1865, Vol. II, p. 128. 


Reynolds: “Engravings by S. W. Reynolds,” Vol. II, plate 8. ar 
Graves and Cronin: “Works of Reynolds,” 1899, Vol. II, p. 574. vr 
Armstrong: “Reynolds,” 1900, p. 217. ‘ 
A. L. A. Portrait Index, 1906, p. 856. . 7 a 


O’Donoghue: “Engraved British Portraits,” 1912, Vol. III, p. 44. 


By order of the Ewecutors of the late THarcHer M. Apams, New York. 


a ie oe ee ee ee oe - OE eee es oo eee ee a RO ee ey ee es re a ne 
ay - —" f 7 ¢ G 


| : NICOLAS MAES 
: DoutcH: tO a 

149—PORTRAIT OF 4 CAVALIER Nea 

ao" K/OO as Height, 4714 wmches; width, 37 inches oe x 


LencorH, in full face. Weare a black doublet and ample cloak; fine : 
lace collar, with strings. Very small moustache; long curly hair falling gs. 
on his shoulders. The fingers of the right hand touch a stone pedestal, oe: a 
his left is held eases before his waist. eee background. ~~ 


Paintedeabeut 1670, a date which marks the best pee of the painter. cf Poe 
Formerly in the collection of the 1st Marquess of Dufferin (died 1902), \— a 
and sold at Christie’s Jan. 28, 1905, No. 93, as the “Portrait of a ee 
Gentleman.” é K SKO + Kawecy a . 
vA Exhibited at the Hudson Fulton Exhibition, Metropolitan Museum of 
‘Art, New York, 1909, No. 61. (fe ijie:) ) | 


ws Hofstede de Groot’s Edition of Smith's “Catalogue Raisonné,” 0 
Vol. VI, No. 399s. [Pp 569) | 


By order or the Executors os the late ‘THATCHER M. Pen: Nee York. 


t 


eee ee ae Se oe ae? Fe fe = a 


THOMAS GAINSBOROUGH, A 
ENGLISH: 17271788 


150—POR TRAIL T OF 


ae Sete CAPTAIN THOMAS CORNWALL, RN. a 
nd i “ | aa 
ra 41007 Height, 50 renee width, 40 inc “"U. f, Oe A 
Teer -QUARTER length; three quarters to the left. In dark blue naval a: 
uniform, with white silk facings and gold buttons; white silk waist; coat 
edged with gold braid, as also are the pockets; lace cuffs; white stock; — 
in a wig. The right hand tucked into the waistcoat; the left presses his . a 
cocked hat to his side and grasps the hilt of his sword. .In the right = 


~, 


background i is a high rock; in the left a distant view of the sea Bc By. 
man-o’-war and: other shipping. ante = 


J 


Originally in the collection at Delbury Hall, near Ludlow, Salop, the seat of the 
Cornewall family who afterward changed their name to Cornwall. Sold out of 
that collection at-Christie’s, July 8, 1905, No. 123. N4O1 botnaghis *Q@c 


Photographed by Mr. Braun Clément et Cie as “Captain Cornwall.” i 


By order of the Executors of the late THarcHer M. Apams, New York. | 


oy ot he Seay A Meu ml Hee 
hotel gave de Sig CE fr Sa eA BP tan Ya J ie / a. 


SIR JOSHUA REYNOLDS, P.R. a 


Eneuisu: 17238—1792 : ry 
a pen 


151—PORTRAIT OF FRANCIS, 
TENTH EARL OF HUNTINGDON, E.R.S. 


O Hei iG 50 Kae width, 40 wches 
Elen 4s 6 db dehe 


THREE-QUARTER iehee- three papers to the right; standing in blue 
ornamented coat with deep cuffs and waistcoat edged with black. A 
small wig, with black ribbons hanging down behind, black necktie, and 
wrist-frills. He holds his hat in his right hand before him; his left is" 
on his hip. Red curtain in the left background; architectural setting 
on the right. The title inscribed above, to the right. 


Francis, tenth Earl of Huntingdon and Lord Hastings de Hastings, was born — 
March 13, 1729. Master of the Horse, Nov., 1756, and Groom of the Stole, he carried 
the third sword of State at the Coronation of George III, Sept. 22, 1761. He suc- 
ceeded to the Earldom, Oct. 13, 1745. He died suddenly, Oct. 2, 1789, aged sixty, 
while sitting at table in the house of his nephew, Lord Rawdon. Walpole tells us 
he travelled in Italy, and was a friend of Warren Hastings. As he d. s. p., the 
ancient barony of Hastings and other honors devolved upon his eldest sister and 
heir general, Countess of Moira, and were carried, by her into the Rawdon family; 
they are now possessed by the Earl of Loudoun. 

Sat to Reynolds in 1754. The portrait paid for, July, 1754, £21. The frame 
(six guineas) sent to Ireland. 
Engraved by R. B. Parkes, 1874, 514 in. by 414 in. in “Works of Reynolds. aE Mele ae: iid 

‘Formerly in the collection of the Marquess of Hastings, at Donington Castle; jt a 
from him it passed to his sister, Edith Maud, Countess of Loudoun, who still owned 
it at her death in 1874. It was afterward bought from the family by McLean, the Ms 
picture dealer, who sold it to C. Sedelmeyer, of Paris. (It is reproduced in his A 
“Catalogue,” 1897, No. 92.) It next passed to the late M. Ed. André, of Paris. 
Eventually it was acquired by Mr. Thatcher M. Adams in 1909. a 

Lord Huntingdon and Lord’ Stormont sat together to Reynolds, for a whole z 
length, in 1758-1754. 

“There are new young lords, fresh and fresh, two of them are much in vogue, 

Lord Huntingdon and Lord Stormont. I supped with them tother night at Lady 
Caroline Petersham’s. The latter is most cried up; the other is very lively and a 
agreeable.”—Walpole to Montagu, Dec. 6, 1753. : 

Gentleman’s Magazine, 1789, p. 961. 4 

“The young Lords Huntingdon and Stormont, just arrived from their travels, Sr 
sat to Reynolds for two whole lengths on one canvas; and here his merit in drawing : 
complete figures and setting them well on their legs, in the attitude most natural 
to them, was equally conspicuous.”—Leslie and Tom Taylor: “Reynolds,” 1865, Vol. 

I, p. 109. 
VY Graves and Cronin: “Works of Reynolds,” 1899, Vol. II, p. 499. 
“ W. Armstrong: “Reynolds,” 1900, p. 213. 
Toynbee: “Walpole’s Letters,” Vol. VIII, p. 8; Vol. XIII, p. 287. 


By order of the Executors of the late THarcHer M. Apams, New York. 


STR THOMAS LAWRENCE, P.R.A. 
ENGLISH: Baer 


152—PORTRAIT OF MASTER ARBUTHN T 


2/007 Height, 531 inches; ae 39 mene UM be y 
Gi 


Sma, full-length figure of a young “hone the body to the front; the - a 
6 head turned to the left. He is dressed in a dark velvet costume, trimmed — 7 
( with lace at the neck, and a broad belt. His long fair hair falls on to his 


shoulders. - In his left hand, which rests on his hip, he holds his hat. His — 
right rests on the head of a large brown, long-haired dog with white 
chest, which is sitting on its haunches with its mouth wide open. The 
two figures are on rising ground under a tree on the left; in the right 
distance the sun is setting across the valley under a cloudy sky. = | 


The boy here seen was a son of the Rt. Hon. Charles Arbuthnot, M.P. (1767-1850). 
Lawrence made a black and chalk drawing of this boy and his brother under the 
title of the “Two Sons of the Rt. Hon. Charles Arbuthnot.” Lawrence also painted 
the portrait of Mrs. Harriet Arbuthnot, this boy’s mother. , 


Formerly in the collection of Mr. White Webbs, Enfield, near London. Sanven enue 
/ in the possession of CG Sedelmeyer, of Paris, and illustrated in his “Catalogue of 
ad Twelfth Hundred of Paintings,” 19138, p. 180, No. 83. 


By order of the Executors of the late 'THatcHEeR M. Apams, New York. 


GEORGE ROMNEY 
Exenise: 1734—1802 


153—PORTRAIT OF 
25 | MRS. ST. GEORGE AND CHILD 
ve, J00+ 


Hei eight, 57 inches; width, 43 inches Lb 


Wrote lengths ; the mother sitting, in a vehi muslin dress anid a Bleck 


grey shawl, the ends of which cross over her lap; her head swathed in 
white; she is seated on a bank and looks out at the spectator. The child 
stands by her side, on the right, nude; he leans his arms against his 


mother’s knees. Landscape setting. 


Anne Stepney, of Durrow, married Richard St. George Mansergh St. George, of : 
Headford Castle, Co. Galway. The child is Richard James Mansergh St. George . 


Ges -1857). 
» Sittings were given in July and August, 1791; paid for, 200 guineas, July 18, 17 91. 
Mrs. St. George died shortly after the picture was pale it was sent over to 


the family seat, Headford Castle, where it hung until about 1888, when it came into | 


‘Exhibited at the Grafton Galleries (Fair Children), 1895, No. 145, by Mr. E. ae ‘ 


the possession of Mrs. Winn, granddaughter of the lady here represented. 
Included in a sale at Christie’s, May 6, 1893, No. 66, and bought in by the owner. 


Winn.. 
t— Ward & Roberts: “Romney”, 1904, Vol. II, p. 138. 
u” A, B. Chamberlain: “Romney”, 1910, p. 170. 


By order of the Executors of the late TuHarcuer M. Apams, New York. 


arlene ES ein RE Te Nn pies “ See ‘- ~ Snake: potengeee 
ee = : oe ih es Ce nae SO ee ES 


GEORGE ROMNEY 


Eneuisu: 1734—1802 : ' i 
1 Os OF SIR ARCHIBALD | ve je 
os CAMPBELL, K.B., OF ee 
KEEO 4 


Height, 60 Hes width, 49 inches yy ye 


a 
, ie 


us THREE-QUARTER length, standing three quarters to the left. In uniform, 
scarlet coat with dark blue facings, with gold braid and one epaulet, — 
Star of the Order of the Bath, lace cravat; wearing a wig. His clasped 
hands rest upon his stick and clasp his cocked hat. Stormy clouds in 
the right background. <A distant view of Fort George, Madras, in the _ 
left background. 3 


Of Inverneil and Ross, born Aug., 1789, son of James Campbell, Commissary 
of the Western Isles of Scotland and Chamberlain of Argyle. Married Amelia, 
daughter of Allan Ramsay, the painter, of Ainkell. Entered the army in the North 
American campaign, and was wounded at Wolfe’s taking of Quebec. Governor and 
Commander-in-chief on the coast of Coromandel, East Indies, in 1787. M.P. for | 
the Stirling Burghs. Died March 31, 1791, and was buried in Westminster Abbey. 

Bought from a member of the Campbell family for whom it was originally | 
painted. , 

General Campbell gave sittings to Romney in January to June, 1790. ‘The origi- 
nal portrait was paid for April 15, 1791, 70 guineas. According to Ward and Rob- 
erts (“Romney”, 1904, Vol. II, p. 24), two replicas were painted. One of them was 
sent to Mr. Addison’s, Surrey Street, Strand, April 8, 1791; paid in full by Lady 
Campbell, 70 guineas, March 26, 1792. The other also was sent to Mr. Addison’s, 
Dec. 10, 1792 and paid for on the same date, 70 guineas, also. 

In general composition and pose this portrait widely recalls the other one (60 in. 
by 48 in.) which was exhibited by General J. Studholme Brownrigg at the Royal 
Academy, 1882, No. 4; and by Canon T. S. Brownrigg at the Grafton Galleries, 
1900, No. 101. It passed into the possession of C. Sedelmeyer, of Paris. (It is re- 
produced in his “Catalogue of the Ninth Hundred of Paintings”, 1905, No. 97.) 
Subsequently, it was acquired (No. 39) by Mr. E. R. Bacon, in whose catalogue it 
| is illustrated (No. 39). 

The following remarks on the other canvas apply equally well to this one: 

“By G. Romney there was an effective three-quarter length portrait of Sir Archi- 
bald Campbell of Inverneil. Against a sky background he stands in a scarlet coat, 
with dark blue facings and gold braid and a white stock. He wears white breeches, 
i [Continued 


[ No. 154—Continued | _ 


and in his folded hands he holds a stick and his large black hat; on his breast is _ 


the star of the Order of the Bath. Sir Archibald Campbell was an able soldier and 
no mean statesman; he served as Captain in America as early as 1758 and 
was wounded at Wolfe’s taking of Quebec. He was again in America in 1775, 
was taken prisoner, and on his release was given the command of the successful 


expedition against the State of Georgia. In 1782 he was made Governor of | 


Jamaica, and three years later Governor and Commander-in-Chief of Madras, 
where he rendered great services to the country and to the East India Company. 
He died in 1791 and was buried in Westminster Abbey, where his monument 
stands in Poets’ Corner. In this portrait the grace and elegance of attitude 


which contributed the chief charm to Romney’s portraits of ladies strike one as— 
being rather a fault than a quality; for there is none of the power or charac-_ 
terization, none of the dignity of expression, which one would expect to find — 


in a great master’s rendering of a man of Sir Archibald Campbell’s character; | 


there is, in particular, in the pose of the hands, an affectation for which the — 


painter, and not the soldier, must be held responsible. The picture is, however, 
a fine decorative work with a pleasing scheme of color.”—Burlington Gazette, 
Vol. I, No. II, May, 1903, p. 45. 

Sir Herbert Maxwell: “Romney”, 1902, p. 172. 

“Another of Romney’s virile studies of men is the portrait of Lieut. General 
Sir Archibald Campbell, K.B., Governor and Commander-in-Chief on the coast 
of Coromandel, East Indies.”.—A. B. Chamberlain: “Romney,” 1910, p. 333. 


By order of the Executors of the late THatcHrer M. Apams, New York. 


a 
4 


— 


DIRK VAN SANTVOORD 


DutcH: SEVENTEENTH CENTURY 


155—PORTRAIT OF A DUTCH GENTLEMAN 


a 18 | (Panel) A t Bates 


Height, 4534 inches; width, 3314 inches 


THREE-QUARTER length figure of a dignified man of aristocratic appear- 
ance, who stands facing the spectator and toward the right, his weight 
borne upon his right foot, the left leg slightly advanced. He is of olive 
complexion, slightly warmed by pinkish color, and his brown eyes ex- 
press a poise of spirit according with the easy command and repose of 
his bearimg. His dark brown hair nearly reaches his shoulders, after 
the fashion of the time, and he wears an upturned moustache and a small 
chin tuft. He is in olive-brown apparel with rich golden embroideries, 
and broad white lace collar and deep white lace cuffs. Neutral back- 
ground in dark tones. 


By order of the Executors of the late TuatcuEer M. Apams, New York. 


vy 


SF 0004 FL a eS width, 53 inches 


according to the diary of Sir Joshua. A sale of Paine’s pictures, — casts. and 
‘books was held by Christie’s on March 12, 1830, This painting was acquired 
in Yorkshire about 1836 by John Craven, and was valued, among others bought 


_, Christie’s on March 2, 1872, No. 71.7 Again it was sold March 1, 1873, No: 79, La 
_ ‘to Agnew. Eventually, in 1908, it was sold again by BS T. oe & Sons 


SIR JOSHUA REYNOLDS, P.R.A. 
Ene.isH: 17238—1792 


156—PORTRAIT OF THE MISSES ei. v ‘i 


Two small, full-length figures, walking in a 1épdscepies The cor 
in a white muslin dress, with gilt-edged red sash, an ample blue mantle 
trimmed with ermine, pink shoes. Her right hand is extended towarda _ 
pet squirrel, seated on its haunches on the ground and munching a nut. _ 
She leads slowly toward the left in front of a large stone pedestal seen __ 
under spreading trees. More to the right is her younger sister, who | 
wears a long pink dress, which is low cut and has a white insertion at the 

neck and elbows; a black velvet bow in her hair.» Black shoes, w with bans . 


buckles. 


Miss Paine and Miss Polly Paine were the daveneee of Tare Paine, the 
famous architect (1774-1829). As children, they lived near Chertsey. They 
appear to have posed for this picture, under the name of Payne in” 1758- -1759, 


at the same time, at 400 guineas, It is called in old catalogues | “Ladies De Grey 
and Grantham.” Sold out of Craven’s possession at Foster’s, July 5, 1865, ‘to. .2 ate 
Mrs. Noseda, it was by her sold on April 30, 1866, to Henry ‘Graves & Co. eo 

Then it passed to Colonel Corbett, out of whose collection it) was sold at 


to Mr. Thatcher M. Adams, in 1908. ta 
|/ Engraved by R. B. Parkes for “Sir J. Reynolds, 1866; 6 in. re 5a in. in. 9 

The elder girl sat alone, with a squirrel in her arms, to Reynolds in pee 
1757, for a canvas that came to this country in the course of time. 

In March, 1758, the two sisters again sat to Reynolds, but for a different 
painting. Again they posed, together with their mother, for the canvas exhibited 
at Huddersfield, 1883, No. 24, under the title of “Ladies Playing on a Spinet; 
Mrs. Paine and Daughters;” it appeared again at Leeds, 1868, No. 1057. | It 
was engraved by R. Josey in 1878. It was seen again at the Royal Academy, 
1908, No. 147, as “The Portraits of the Misses Paine.” For, in the meantime, " 

[Continued 


[ No. 156—Continued | 


the owner of the picture had had the head of the mother (sitting at the back 
and wearing a white cap) painted out of the picture. It has since changed 
hands once more. As a companion to it, was probably painted Reynolds’s “Por- 
trait of James Paine and his only Son James,” now in the Ashmolean Museum, 
Oxford (“Summary Catalogue,” 1912, p. 154). 

The younger girl in this canvas married Tilly Kettle, the artist, about 1777; 
he died on his way out to Bengal in 1786. . 

Some of James Paine’s “Plans and Elevations” are in the Metropolitan 
Museum. 

“Gentleman’s Magazine,’ 1786, p. 1091, and p. 1145. 

“Gentleman’s Magazine,” 1789, Vol. II, p. 1153. 
.’ Graves and Cronin: “Works of Reynolds,” 1899, Vol. II, p. 718/79. 
./ Armstrong: “Reynolds,” 1900, p. 222. 

O’Donoghue: “Engraved British Portraits,’ 1912, Vol. III, p. 398. 

Graves: “Century of Loan Exhibitions,” Vol. III, p. 1068, Vol. V., p. 2283. 


By order of the Executors of the late THATCHER M. Apams, New York. 


CORNELIS VAN POELENBURG 


Dutcu: 1586—1667 


157—_THE GOATHERD 


(On Copper) | . 
7" oe om serer Mh 0. baguensd 
Height, 64. inches; length, 814 inches * 0 & 


Tue herder of goats appears on the right in the foreground, standing 
with his back against a high bank and amusing himself with his bagpipe, 
his dog standing at his feet. He is a complacent peasant, in red and 
white, with legs bare, and his white herd are seen in various postures in 
front of him—in a brown earthen road and on a low bank bordering it. 
High on the left a huge hillside mounts before a sky tinged with hues of 
sunset. On its distant slopes, buildings and figures may be discerned, 
and at the extreme left of the foreground is a waterfall. 


From the collection of the late H. B. Dicx, New York. 


JOHN (OLD) CROME 
Bririsu: 1769—1821 


158—WOODED LANDSCAPE 


(Panel) i 
Height, 914 inches; length, 1114 inches 4b. Ib. t ) 


On the right, in the foreground, a dark green hillside rises boldly to a 
zigzag rail fence, which bounds a dense and dark wood; in its depths the 
wood is greenish, while the trees on its edges show autumn foliage, and 
their tops wave before a lightly clouded sky which is tinged with delicate 
sunset tones. Through the centre of the composition runs an open way 
with a clear vista to the horizon, and in it a woman and a little girl are 
walking. At their left, a brown and green outpost of the wood. 


Purchased from Arthur Tooth & Sons, New York. 
From the collection of the late H. B. Dicx, New York. 
C393R- 
UNKNOWN MASTER 
OF THE VA 


FIFTEENTH CENTURY 


159—MADONNA AND CHILD, WITH ANGELS 


(Panel) > Mb 
SdenrttmMtetV 
£00 a! Height, 151% inches; width, 111% inches an 


On a gold ground the Madonna is depicted in robes of green and deep 
crimson, with gold ornamentation. <A shoulder-scarf enfolds her head 
as a cowl or mantilla. Above this an illuminated scroll appears as a 
crown held by two angels, the angels clad in colors similar to those of 
the Mother’s robes. The Mother is seen at half-length, standing, right 
hand at her breast, and holding in her left arm the Child, who is in red 
and gold. He holds a scroll on his knee, and raises one hand before the 
Mother’s breast in blessing. Inscriptions appear over the shoulders of 
both Mother and Child, and above the wings of the angels. Obtained 
from one of the Coptic churches of Cairo. 


From the collection of the late H. B. Dicx, New York. 


SCHOOL OF REMBRANDT 


160—-CHRIST BEFORE THE JUDGMENT SHAT 
(Wood) 


Curist, bound and surrounded by soldiers, stands waiting to be judged. 
On the left, Herod is enthroned. Below in the foreground are groups of 
people, some of whom on the left pea wildly. | 


Exhibited by the late Henry Sayles on loan in the Boston Museum mm 
May, 1886, and mentioned in the Annual Report of that year, 
page 82. 


From the collection of the late Henry Sayues, Boston. 


ITALIAN SCHOOL 


SEVENTEENTH CENTURY 


161—_THE DESCENT FROM THE CROSS 


SMALL full-length figures. Christ is in the centre, supported by a 
cherub on the left and a seraph on the right. In the left foreground are 
two other angels who support the cross; in the right foreground two 
bear the weight of the column. In the left distance is a view of Jeru- 
salem. 


Bought in Bologna by the late Mr. Adams, with an attribution to Federigo 
Baroccio (1526-1612), the Umbrian follower of Raphael and Correggio. Painted 
under Northern influence. 


By order of the Executors of the late THatcHrer M. Apams, New York. 


5“ Gitilihves 
=: aad & a, Height, 151% wmches; width, 18 imches Ki be 


=e. 


/00 1 Height, 14 inches; width, 101/, inches ig 7 4p, 


ITALIAN SCHOOL 


SEVENTEENTH CENTURY 


162—ST. ANNE INSTRUCTING THE VIRGIN oe 


SOu4 Height, 14 inches; width, 1014 inches A¢ Abitibhaan 


St. Anne, dressed in blue and wearing a yellow mantle, is seated. The 
Virgin, turned in profile to the right, stands by the side of her mother 
and reads the open book held in the lap of St. Anne. Angels in the 
sky survey the scene. | 


By order of the Executors of the late THarcuer M. Avams, New York. 


MARCO D’OGGIONO 


(ATTRIBUTED TO) 


Miran: 1470( ?)—1530(?) we 
i \ 


1683—_THE INFANT CHRIST AND ST. JOHN 


Yo 4 Height, 1114 inches; length, 1634 inches y Py 


Two pink curtains are withdrawn to reveal in the centre the Infant 
Christ, nude and seated on the floor. He embraces the little St. John 
the Baptist, on the right, who holds a reed cross. 


The main elements of this composition are often met with and trace back to 
Leonardo da Vinci, as chef d’école at Milan. Indeed, so many repetitions and varig-y 
tions of the composition by Leonardo’s pupils exist that it is reasonable to suppose 
that it is founded on a lost picture or drawing from his hand. The most remarkable 
of these is the “Infant Christ caressing St. John” at Hampton Court, where it is 
hung in William III’s Presence Chamber. It is No. 64 in E. Law’s Catalogue of 
1911, and labelled as by Marco d’Oggiono after Leonardo. It is reproduced in 
Law’s “Royal Gallery of Hampton Court,” 1898, p. 22, and in W. L. Bourke’s “Repro- 
ductions of Pictures at Hampton Court Palace,” 1909, p. 5. <A repetition of the 
figures in that picture is found, with a different landscape background, in the 
Ludwig Mond Collection Catalogue, 1910, Vol. II, p. 388. In another repetition, 
at Naples, the pose of the children is similar, but they are placed upon a curtained 
bed, and above their heads hovers an emblematic dove. The canvas now before us 
differs in certain respects from that work, which is its nearest exemplar. 

Archivio Storico, Series IV, Vol. V, p. 47. 

Mary Logan: “Guide to the Italian Pictures at Hampton Court,” written for 
the Kyrle Society, 1894, p. 36. 


By order of the Ewecutors of the late THarcuer M. Avams, New York. 


it Se 


/50-7 mele 1814 inches; width, 15 a gt | 


** | Ge 


SCHOOL OF PARMA 


SEVENTEENTH CENTURY 


164—MADONNA AND CHILD 


SMALL, three- i ter length figure of the vee in a pink tunic and 3 
blue mantle; she has fair hair and gazes up to heaven, towards the right, 
as she nurses the Infant who sleeps on her lap. Below on the right, at 
her knee, is the little St. John who clasps his hands 1 in adoration, as he 
contemplates the Infant. 


Purchased by the late Thatcher M. Adams in Bologna. | 


By order of the Executors of the late THatcuEr M. Apams, New York. + 


ITALIAN SCHOOL 


SEVENTEENTH CENTURY 
165—MADONNA AND CHILD : 
1004 | Height, 3614 inches; width, 28 inches of Jf, de ; An ; 4 

4 


Tue Virgin is seen at three-quarter length, in her traditional robes ahd 
with a gauzy headdress. The Infant Christ, on the left, is standih@on a 
pedestal and receives a pectoral cross from the little St. John the Bap- ~ 
tist, whose reed cross, with a scroll, leans against his left shoulder. The 
three figures are seen through a casement. 


Bought in Bologna by the late owner. 


By order of the Executors of the late THarcurer M. Avams, New York. 


CANALETTO 
(ANTONIO CANALE) 


Irauian Scrooni: 1697—1768 | 


166—PIAZZA OF VENICE FROM SAN MARCO 


: /000 2 Height, 28 inches; length, 44 inches : Z ae L . 


4 


A view of the famous square in front of the Basilica of San Marco at 
Venice, which shows on the left a part of the Campanile and the adjoin- 
ing Loggietta of Sansovino, now in utter ruins. 


Property of a Private Owner. 


; 
: 


& 


Be 1/00: +, | Height, 40 inches; engin 55 inches 


167 VIEW ON THE (GRAND CA oe IL 


SEEN from ie Riva an Schiavoni. In the eas for 


# Bs. F Pa 3. om ey Woe 


AD 


| ESTES. aoe 


FULL-LENerH, life-size figures. The principal figure wears a low-cut 


JUSEPE DE RIBERA 


(ATTRIBUTED TO) 
SpanisH: 1588—1656 
168—_CHARITY ? 
ILO 16° | H eight, 5514 inches; width, 47 inches | 


BS a AP 
2 m as” LEA, oe 
Pa ee dour aad 


red robe with yellow mantle. She has dark hair, and looks over her 
left shoulder at a putto who has scrambled on to her shoulder. In the 
left foreground are two other putti; one of them is suckled by Charity. 


In a private collection in England until 1910. 


In some respects, the treatment recalls the general style of Ribera, who, however, 


would be unlikely to render this subject and is not known to have ever painted it. 
Rather does it suggest some unrecognizable painter in the School of Naples, the 
rulers of which in the early part of the seventeenth century were Spanish. The con- 
ception is less wildly extravagant of fancy, and less stern and vigorous in execution, 
than the violent contrasts of Ribera himself. 


By order of the Executors of the late THatcHrer M. Apams, New York. 


SIR EDWIN H. LANDSEER, R.A. 
ENGiIsE 1802—18&73 


169—ALEX ANDER AND DIOGENES 
F007 Height, 44 inches; length, 55 inches ob SE 


A LARGE bull terrier, with collar, stands proudly toward the left in the 
foreground. Further back, and in the centre of the composition, is a 
shaggy-haired terrier in his kennel. Various objects are on the ground 
in front; they include a lantern, a box of nails, a hammer and an apron. 
Onions hang at the left side of the kennel. On the right, and in the 
background, are six other dogs grouped in silent attention. 


J. A. Manson: “Landseer,” 1902, p. 139, writes of the picture in London, 
thus: 


“Alexander and Diogenes” (Royal Academy, 1848) is one of lLandseer’s 
most masterly dog subjects. A shaggy terrier in a tub personates the philoso- 
[Continued 


ee 


[ No. 169—Continued | 


pher, and the imperious King is typified by a domineering white bull terrier. 
A couple of bloodhounds, steeped in loftiest disdain, represent the goldstick-in-_ 
waiting. A greyhound wag retails the latest court scandal to the credulous 
spaniel courtiers. It is a delicious picture, drawn with verve, and painted with 
great gusto. Jacob Bell bequeathed it to the British nation, and it now adorns 
the Tate Gallery.” { 

The clothing of Diogenes (B. C. 412—323) was of the coarsest and his food 
of the plainest. He laughed at men of letters, musicians and orators. At one — 
time he took up his abode in a tub. In his famous interview with Alexander 
the Great, the King opened the conversation with the words: “I am Alexander 
the Great.” To this the philosopher answered: “And I am Diogenes the cynic.” 
Alexander then asked him in what way he could render him a service. To this 
Diogenes replied: “You can stand out of the sunshine.” Alexander is said to 
have been struck with the cynic’s self-possession, and so anxious to reprove 
those of his courtiers who were ridiculing the rudeness of the Greek philosopher, 
that he went away exclaiming: “If I were not Alexander, I should wish to be 
Diogenes.” 

Very little credit is due to this story, but the anecdote is one of the kind that 
Landseer would eagerly seize upon. Politicians and persons having a lively 
imagination may see in Alexander the type of a successful bully who has 
fought his way in the world by physical force, and has a sovereign contempt 
for moral influence. His motto is “Vi et Armis,’ and he is ready 

“To fight his battles o’er again 
And thrice to slay the slain.” 

A. Graves: “Works of Landseer,” p. 28, claims that Alfred Harral executed his | 
engraving of this composition—it was also engraved by Thomas Landseer in 1852 and 
by C. C. Hollyer, in a small plate, in 1873—from the painting now in the National 
Gallery of British Art. The present canvas was bought by Mr. Adams from S. T. 
Smith & Sons, of London, who claimed that this was rather the smaller canvas as 
well as the original from which Harral had made his engraving. 


By order of the Executors of the late THarcurer M. Apvams, New York. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 
THOMAS E. KIRBY, 


AUCTIONEER. 


RESENTED 


REP 


. 


ae 


LIST OF ARTISTS REPRESENTED 


AND THEIR WORKS 


AMES, Josern, N.A. 
The Marshes 


BABCOCK, Wuutam P. 
At the Mirror 


BAKER, Witu1am Buss 
The Winding Stream: A Haze 


BARYE, Anrornet Lovis 
The Lioness’s Victim 


BISSCHOP, Curistorre. 
Saying Grace 


BOCK, THEOPHILE DE 


Pool and Distant Church 
Landscape with Pool 


BONINGTON, Ricuarp PaArkEs 
The Turk 


BOUDIN, Lovis EucGENE 
Le Havre 


BOUGHTON, Georce Henry, N.4A., R.A. 


Rip Van Winkle 
“Ichabod Prided Himself upon His 
Dancing” —Legend of Sleepy Hollow 


CATALOGUE 
NUMBER 


88 


10 


76 


68 
100 


127 


20 


eS ee 


ps é i oa 
CATALOGUE 
} NUMBER 
CAMERON, Davin Youne 3 a 
Loch Linnhe a 
Broad Harbor View | 7 
Study of Mountains * ee 
Mountains ot _-, {ae 
Ben Ledi: Sunset a Je 
CANALETTO (ANTONIO CANALE) 
Piazza of Venice, from San Marco — 166 
View on the Grand Canal, Venice ~ 167 | 
CEDERSTROM, Tueopore oa 
A Tight Cork . | 9s 
CLOUET, Francois (Attributed to) : ‘7 
Portrait of a Man with a Red Hat | 139 eS 
COLE, J. Foxcrorr : ee 
Venice (After Ziem) 7 81. a 
COLEMAN, Cuaries Caryi, 4.N.A. al 
Studio Interior: Still Life | 77 
COROT, JEAN Baptiste CAMILLE ! | 
Landscape } | 182 3 
Landscape with Gone 135. 
COURBET, Gustave 3 | & 
Bords du Doubs: Effet d’Automne 126° 
COUTURE, Tuomas " 
Portrait of a Man 94 


CROME (OLD), JoHn 
Wooded Landscape 158 


CUYP, AELBERT 
Portrait of a Girl 


DAUBIGNY, Crartes FRANcoIs 
Village on the Oise 


DECAMPS, ALEXANDRE GABRIEL 


The Hunter 
Himself as Others See Him 


DEGAS, Himarre GERMAIN EpGar 


Femme sortant du Bain 
Danseuses roses 


DETAILUE, Jean BaAptiste Epovarp 
Prussian Soldiers 


DIAZ DE LA PENA, Narcissr VirGILE 
Femme et |’Amour 
An Apotheosis 


DIDIER, JuLeEs 
Landscape and Cattle: Roman Campagna 


D’OGGIONO, Marco (Attributed to) 
The Infant Christ and St. John 


DUPRE, Jvuxzs 
At Close of Day 


ENGLISH SCHOOL 
Children Blowing Bubbles 


CATALOGUE » 
NUMBER 


144 


134 


97 


129 
130 


75 


163 


131 


140 


: _ CATALOGUE 
= NUMBER © 

A FANTIN-LATOUR, Henri ; ss ee 
| Pastoral: A Sketch é ern, 


FAUVELET, JEAN 
A Game of Cards 


FERGUSSON, Henry A., 4.N.A. 


Church Interior 


GAINSBOROUGH, Tuomas, R.A. 
Portrait of Captain Thomas Cornwall, R.N. 


HARPIGNIES, Henri 


Boat, Stream and Shore 
Landscape | 
Landscape at Sunset 


HENNER, Jean JACQUES 
Téte de Femme 


HEREAU, Jutzs 
Farm Workers Resting 


HERTER, ALBert 
Cleopatra 


HOMER, Winstow, N.A. 
Girl in Garden 


HUNT, Wit11aAm Morris 


An Angle of San Remo 
Out in the Cold 


INNESS, Grorcer, N.A. 
Summer Landscape with Figures 


CATALOGUE 
NUMBER 

ISRAELS, Josrer 

In the Gloaming 115 
ITALIAN SCHOOL 

The Descent from the Cross 161 

St. Anne Instructing the Virgin | 162 

Madonna and Child 165 
JACQUE, Crartes Emite 

Shepherdess and Flock in Forest 133 
JACQUET, JEAn GUSTAVE 

The Amateur Artist 71 
JIMINEZ, Louis 

The Reader 2 
KNAUS, Lupwiae 

The City Girl : 104 


KRUSEMAN VAN ELTEN, Henprick Dirg, N.4A. 
Landscape and Figures 8 


LANDSEER, Sir Envwin H., R.A. 
Alexander and Diogenes 169 


LATOUCHE, Lovts 
Marine with Figures 


bo 
bo 


LAWRENCE, Sir Tuomas, P.R.A. 
Portrait of Master Arbuthnot 152 


Be | i 
CATALOGUE 
NUMBER 


LHERMITTE, Ltron Meearies | e, 
Landscape with Shepherd, Flock ahd Wind- ae 
mill 108 
Shepherd and Flock 123° 8 


LOISEAU, GustTAvE a 
Les Bords de Eure: Le Matin | 18 


MADRAZO, Don Rarmunno DE ae 
Unmasked | | 1 ae 
MAES, Nicowas a 
Portrait of a Cavalier | 149 2s 


MANET, Epovarp ~ 
Femme décolletée Geet de Mme. du Paty) 64, 
Devant la Psyche ' 66 a 
Portrait d’ Homme ( Y Tomes Blond’) 66 a. . ' 


MARIS, WiLttemM 


Ducks | 116 
The Three Trees and the Ducks j 124 


MAUFRA, MaxIME 


Coin de Plage: Belle-Ile en Mer; Les Ro- 
chers des Korigans, Dinan 80 


METCALF, Witiarp Leroy | | 
Moonlight | > Liaw 


MEYER VON BREMEN, Jonann GEORG is 
Blindman’s Buff | 95 


MICHEL, Gerorcers 
Landscape cae 72 


CATALOGUE 
NUMBER 


MILLET, Jean Francois 


Blind ‘Tobias 93 
MONET, CLaupE 
Maison et Canards 24 
Automne sur la Seine 25 
La Débacle: Série des Glacons, a Vétheuil 26 
Sentier dans I’Ile St. Martin, Vétheuil 27 
Sentier dans I’He St. Martin a Vétheuil 28 
Le Matin, Temps brumeux, Pourville 29 
Falaise aux Petites Dalles 30 
Champ de Coquelicots: Environs de Giverny = 31 
Champ d’Avoine 32 
La Tamise, Effet de Soleil: Waterloo Bridge 33 
La Tamise, Effet de Soleil avec Fumeées: 
Waterloo Bridge 34 
La Tamise: Au Pont de Charing Cross 35 
La Tamise: Le Parlement; Effet de Soleil 36 
Le Soleil dans le Brouillard, Londres: 
Waterloo Bridge 37 
Les Nymphéas: Paysage d’Kau 38 
Venise: Palais da Mula 39 
Venise: Palais Ducal 40 
Venise: Palais Ducal, vu de San Giorgio 41 
Venise: Le Palais Dario 42 
Printemps 3 48 
Bords de la Seine a Vernoi 49 
Peupliers en Automne a Giverny 50 
Matinée sur la Seine 59 
La Tamise 4 Londres: Les Ponts de Char- 
ing Cross et de Westminster 60 
La Tamise 4 Londres: Le Pont de Charing 
Cross 61 
Les Nymphéas: Paysage d’ Kau 62 


Bois d’Oliviers, Bordighera 63 


ad 
, - 


cavatee 
NUMBER | 
MONTICELLI, ApoLrHeE © ‘Pye 


The Wise Men 
Dans le Jardin 


MORAN! Divousc Ned. 


Venice 
Venice 


MUNGER, GILBERT 


On the Seine 
The Two Brothers, Forest of Fontainebleam ; 
Woods at Chevy Chase, Washington, D. C. 


Forest of Fontainebleau 


MURPHY, J. Francis, N.A. 
September Afternoon 


PASINI, ALBERTO 
Moors at Entrance of Mosque 


PISSARRO, CamiILie 


Pommiers en Fleurs: Temps gris | 


PLASSAN, Anrornrt EMILE 
. Parental Pride 


RAEBURN, Sir Henry, R.A. 


Portrait of R. A. Ironside of 'Tannockside 
Portrait of Judge Maitland 

A Boy with Cherries 

Portrait of Lady Broughton 


REMBRANDT (SCHOOL OF) 
Christ before the Judgment Seat 


une 

RENOIR, Pierre AvGuste 

Environs de Pourville 43 

La Seine a Argenteuil 44 

Canotiers sur la Seine a Bougival 4S 

Dans la Prairie 46 

Canotiers a Chaton A7 

Femme et Enfant 51 

Jeune Femme assise 52 

Les Deux Sceurs 53 

Femme a lOmbrelle 54 
REYNOLDS, Sir Josuva, P.R.A. , 

Portrait of Master Hare, as “Infancy” 145 

Portrait of William Robert, Second Duke of 

Leinster 148 
Portrait of Francis, Tenth Earl of Hunting- 
don, F'.R.S. 151 

Portrait of the Misses Paine 156 
RIBERA, Juserrt pE (Attributed to) 

Charity 168 
RIBOT, Avecustin 'THEODULE 

The Young Cellarer 114 
RICHARDS, Wuu1am T. 

Rocky Coast ri 
@ 
RICHET, Lrton 

‘Landscape with Pool 11 
RICO, Martin 

Fishing Party: The River Seine 122 


— 


°* 
7 


ROBBINS, L. Lee 
Portrait of a Lady 


ROELOFS, WitL—EM 
7 Landscape and Cattle 


ROMNEY, GerorcE 
Portrait of Mrs. St. George and Child 
Portrait of. Sir Archibald Campbell, K.B., 
of Inverneil 
SARGENT, Joun SIncer, N.A., R.A. 
Sketch of a Laborer 


SCHOOL OF PARMA 
Madonna and Child 


SCHREYER, Apo.r 


Wallachian Post Station 
A. Wallachian Team 


SISLEY, Aurrep | 
~ Inondations a Moret 


SMITH, F. Hopxinson ~ | 


Venice 


STEVENS, Atrrep 


Figure in Sunshine 


THAULOW, Farts 


La Seine en Novembre 


Venice 
TILTON, Joun Ro.tin, N.A. 


CATALOGUE 
“NUMBER 


a P se 


74 


120 
164 


103 
136 


55 


15 


89 


19 


a7 


CATALOGUE 
NUMBER 


UNKNOWN MASTER 
Madonna and Child, with Angels 159 


VAN MARCKE, Ente 
| The Farm and Its Life . 137 


VAN MIEREVELT, Micurer Jansz 
Portrait of a Burgomaster | 143 


VAN POELENBURG, Corne tis 
The Goatherd | 157 


VAN SANTVOORD, Dirk 
Portrait of a Dutch Gentleman 3 155 


VEDDER, Enruvu, N.A. 
Conspiracy or Confidences? 110 


-VERBOECKHOVEN, Evcrne 
| The Dead Lamb 4. 


VERESTCHAGIN, Vassi1i | 
Portrait of a Girl of the District near Mos- 


cow; Age, 15 Years 17 
WEISS, José 
Landscape 12 


WILEY, eitebick sie 


Landscape with Figures 69 
Woodland Landscape: Sunshine and Shadow 90 
Oak in Autumn 138 


WORMS, JULeEs 
Spanish Dancers 79 


i 
EPS tt Ve EI tel 


ae 
5 


INTELLIGENT APPRAISALS 
FOR 
UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES ' 


_ THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


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) OF 


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_ AND PERSONAL EFFECTS OF 
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MADISON SQUARE SOUTH 


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TELEPHONE, 3346 GRAMERCY 


is 


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A, ae Vronstae ee raet : : 


ak Ng aie ide ee Me 3,500 
Fase ‘Maitland Sik é 
ernet, agent.../.. 7,200. 
a. Burgomastéer—V. BTR oo 
p Heitmann eae 1,800 
abl Aelbert sOuUyD 3. se 
nen sane eee 6,000 | 
it of Master Hare as ‘“‘In-° 7 4 
Sir J shua Reynolds; 1. CG. 5. 
. Jameson IR TP tially i" 4, 
AGA Boy Wi Gherriés—Sir ASD 
‘Raeburn; Bernet, agent..... vada 20,000 | 
7—Portrait sof Lady Broughton—Sir ; 
enry Raeburn: Seaman; agent......15,300 
on Dy rait of William Robert; Sec- 
ke of Leinster—Sir Joshua ? 

ie olds; ME 9 Fe Goldblatt. Ce a eee 1,400 | 

He 449--Portrait of a. Cavalier—Nicolas= | 
. Maes; Leo OWT 2 He hen te cists setceoama ea 4, 100 | 
150 Portrait. of Captain Thomas: Corn- | 
aval, KR. N.—Th omas_ _ Gainsborough; | 

| “Seaman, agent edie emote Wiemihrt eile die dies MOD i 
6153-—Portrait of Teenie. “Peath Bark ot 7". 


i 
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| 


Huntington, Bea R. S.—Sir Joshua 
,Reynolds; MH, B. Schwab.........4.. 1,200); 
Portrait of Master Arbuthnot— 
ir Thomas Lawrence; Seaman, 
~ BE ent Sey isuha i pled inh oy ee | ame Se 100, 
1he—Vortrait of Mrs. St. George and 
Child—George Romney; T. H. Rus- | 
pel] Re es hy ets BG 
Wy pu Portrait of Sir Archibald’ Camp- i 
yell, K. B., of Inverneil—George Rom-  _ i 
Agey; Mnoadler & Co. ciiiuesioaneccs> 4,550 | 
| . ; Portrait of a, Dutch eh, ; 
1 


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~Portrait of the Mhigsee ‘Paine—Sir | ; 
Joshua Reynolds; Seamam, agent.....16,000 
168-—-Wooded ‘Landscepe—John (Old) hie) 
Crome; Seaman, agent...,...--.-... . 450 
159—Madonna and Child with Angels— 
Unknown Master; T. Brunmer......... 260 
166—Piazza of Venice from San Marco 
“—-Canaletto (Antonio Canale): @hrich 
CPoemud Sot LEOMOR: . puis Gace Sye sec Oe 
197--View | of the Grand Cana!, Venice— 
‘Giovanni Ar tonio Ganaletto; Bernet, i 
[Pipe Bea tiaty var ohana ae. hd RO punateaeis vig oma dhe ve 
/168—Charity- usepe de. Rivera (at- . 
tributed tr” Neinberger Galleriés... 350 
169—Alexar. 2. and Diogenes—Sir Kd- 
| win H. Landseer; C. Lageman. <i)... 900 


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Mares . 


sent 
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“ian ak 


Tooth 
Ou Het wel 
TERA G 


pao 

es Seas 
as 

ey: 


aah 
Bite i 
re 


alt 


ie 

v nh ? 
ay 

‘ejb 

wee iS) 

sah iek =: te 


ee 


h 
tl 


